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
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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
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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
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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.
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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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Mozart and Fanny Mendelssohn Sunday, Jan. 12, 4 p.m. Monday, Jan. 13, 7:30 p.m.
Program String Quartet No. 21 in D Major, K. 575 I. Allegretto II. Andante III. Menuetto and Trio. Allegretto IV. Allegretto
Wolfgang Amadeus Mozart (1756-1791)
String Quartet in E-flat Major I. Adagio ma non troppo II. Allegretto III. Romanze IV. Allegro molto vivace
Fanny Mendelssohn Hensel (1805-1847)
—Intermission— Clarinet Quintet in A Major, K. 581 I. Allegro II. Larghetto III. Menuetto IV. Allegretto con variazioni
Wolfgang Amadeus Mozart
Daniel Silver, clarinet
PLEASE NOTE •
Latecomers will be seated at the discretion of the house manager.
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Photography and video recordings of any type are strictly prohibited during the performance.
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Smoking is not permitted anywhere. CU Boulder is a smoke-free campus! · cupresents.org · 303-492-8008
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Takács Quartet: Jan. 12-13, 2020
Takács Quartet
Takács Quartet: Jan. 12-13, 2020
Program 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 1789. 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. 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 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 diligently on a projected set of six quartets for the king—finishing the first, K. 575 in D, on his way back to Vienna. 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. 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.) K. 575 demonstrates Mozart’s remarkable ability to maintain a balance among the four voices, as he introduces one lovely melody after another. There is a remarkable transparency here, 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
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completed later, failed to fulfill Mozart’s hopes for financial success. Later, he wrote 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: These last of his quartets were finally published on Dec. 28, 1791—23 days after Mozart’s death. Subsequent profits went to Artaria.
String Quartet in E-flat Major Fanny Mendelssohn Hensel (1805-1847)
Clara Schumann and Fanny Mendelssohn had two strikes against them as composers: Each shared the name of a towering figure in that field, and both were women. In her day, Clara was famous as a brilliant concert pianist—yet her music remained mostly hidden, due to society’s disapproval of creative women. Only recently have Clara’s works found popularity, with last year’s performances and recordings honoring her bicentenary. But Fanny never achieved such a public profile during her sadly brief life or in the years following. Growing up in an intellectually vibrant household, she and her younger brother Felix received early musical training. Each studied composition with the renowned pedagogue Carl Zelter, which erases any suggestion that Fanny was discouraged from writing music. That said, her gender and a life spent in her younger brother’s illustrious shadow dampened hopes of becoming a published composer. The siblings exchanged numerous letters dealing with the art and craft of composition, and Felix accepted her as a competitor, albeit in a condescending way. When Fanny sent him her latest scores—mostly songs— he would offer gentle criticism. Reading through her only string quartet, written in 1834, he chided his sister for an “indistinct” approach to form and modulation. He did like the Scherzo and admitted that “the theme of the Romanze also pleases me very well.” It’s shocking to learn that Fanny’s published songs were credited to her brother. No, Felix didn’t intend to steal them; it was a necessary ruse, given the prejudice against women who composed. During Felix’s visit with Queen Victoria in 1842, Her Majesty sang a favorite song of his, “Italien,” after which he informed her that it was in fact written by his sister. Late in life, Fanny finally submitted works under her own name. It was no surprise that she
There is an intriguing freedom of construction in Fanny’s quartet, noticeably in its opening movement, which is miles away in tonality and mood from the work’s stated key of E-flat. The sadness in that music is broken by the energetic Scherzo-like Allegretto—shimmering music understandably favored by Felix. Observe its well-drawn fugal section in the middle. The soul of this quartet lies in the dark, passionate Romanze in G minor, displaying Fanny’s unbridled, often rebellious personality (in contrast to her brother’s more reserved demeanor). In the high-energy final Allegro, the home key of E-flat emerges. Those close harmonies and unison passages in the violins and the soaring melodies over agitated accompaniment show Felix’s influence. The work was likely played at one of Fanny’s “Sunday Musics,” though she clearly hoped for more exposure: “Receive my thanks for your satisfactory review of my quartet,” she wrote her brother, adding “Will you have it performed sometime?” Alas, Felix never followed up on her request.
Clarinet Quintet in A Major, K. 581 Wolfgang Amadeus Mozart
For all its natural beauty, Mozart’s beloved Clarinet Quintet represents a victory against severe odds: matching the singular sound of this late-arriving wind instrument with the familiar blend of the string quartet. In fact, so new was the clarinet in the late 1700s that the instrument was still in development when discovered by Mozart. Its history dates back to France in the late 1600s, when a single-reed instrument known as the chalumeau had gained acceptance, improved dramatically in 1700 by J.C. Denner of Nuremberg. The evolution of what we know as the modern clarinet saw several subspecies popping up in Mozart’s Vienna. For that, credit the Stadler Brothers: Johann and, of particular importance,
Anton (1753-1812). The significance of the latter Stadler is seen in the productive collaborations of Mozart and his “excellent clarinetist and careless friend,” in the composer’s words. The quintet and sublime concerto, K. 622, were written for Stadler—along with the Kegelstatt Trio and the extended solo in the aria “Parto, parto” from La Clemenza di Tito. Some or all of those works were played by Stadler on his curious invention, the basset clarinet, which increased the lower range (known as the chalumeau) by four notes. Premiered at a benefit concert on Dec. 22, 1789, where it was sandwiched in the midst of a cantata by Vincenzo Righini, the quintet must have seemed an oddity to its first listeners, since nothing like it had existed previously. Given all that, one is struck by the work’s subtle perfection. Notice how Mozart cleverly holds back the clarinet in the opening Allegro, giving the first six measures to the strings before introducing the new kid on the block. The clarinet instantly projects a comfort in ensemble, while displaying the instrument’s warmth, wide range and solo virtuosic possibilities—all in service to some of Mozart’s most inspired melodies. The composer wrote this quintet while at work on Cosi fan tutte, and it shows in the clarinet’s arialike melody gracing the Larghetto (accompanied by muted strings). Besides its unprecedented instrumentation, K. 581 also contains the novelty of two separate Trio sections in the Menuetto, the first given to the strings alone and the second a folksy oom-pah-pah dance. The final Allegretto is an inventive set of variations, interrupted by a loving, introspective Adagio. It turns out that Anton Stadler was, indeed, a “careless friend,” since he kept the manuscripts of the quintet and concerto and declined to return them to Mozart’s widow. Poor Constanza was convinced that the clarinetist had sold them to a pawn shop. In any case, both manuscripts disappeared. Still, we’re forever indebted to the man who inspired Mozart’s late masterpieces. The composer’s gratitude is clear in a letter sent to Stadler: “Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and lovely a tone that no one can resist it.”
· cupresents.org · 303-492-8008
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Takács Quartet: Jan. 12-13, 2020
remained unsure and critical of her music. “I lack the strength to sustain my ideas properly and give them the necessary consistency,” she wrote to Felix. Her music was performed at private parties in the home she shared with her husband, the painter Wilhelm Hensel. These “Sunday Musics” were attended by friends and visitors, including Robert and Clara Schumann.
Takács Quartet: Jan. 12-13, 2020
About the performers
Praised by the Washington Post for his “sense of freedom and extraordinary control,” Professor of Clarinet Daniel Silver is active as a soloist, chamber musician, orchestral performer, clinician and teacher. He has served as principal clarinet of the Baltimore Opera Orchestra, the Washington Chamber Symphony (Kennedy Center) and the National Gallery Orchestra. From 1980 to 1987, he was the principal clarinet of the Hong Kong Philharmonic, appearing often as a concerto soloist. From 1988 to 2000, he was a member of the Contemporary Music Forum of Washington, D.C. in residence at the Corcoran Gallery, taking part in premiere performances of many works by noted composers. Silver has performed with the Baltimore Symphony and the Pittsburgh Symphony Orchestra, including Carnegie Hall concerts with David Zinman and Lorin Maazel. He has been a concerto soloist with the Washington Chamber Symphony, the National Chamber Orchestra, the Roanoke Symphony and others. He has played under many of the leading conductors of recent decades, including Seiji Ozawa, Leonard Bernstein and Andre Previn. His festival credits include Tanglewood and Aspen and he now spends his summers at the Interlochen Arts Camp, where he has been a faculty member since 1991. In recent seasons, Silver has performed in Europe and Asia, as well as having been a featured performer on National Public Radio’s Performance Today for domestic concerts. He has recorded for the Marco Polo, Naxos and CRI labels. A graduate of Northwestern University and the University of Michigan, his teachers have included Thomas Peterson, Robert Marcellus and Deborah Chodacki. Silver taught previously at the Chinese University of Hong Kong and the Hong Kong Academy for the Performing Arts, Towson University and the Baltimore School for the Arts. In demand as a clinician and adjudicator, he has served on panels in the United States, Asia and Australia. The Takács Quartet, now entering its 45th season, is renowned for the vitality of its interpretations. The New York Times has 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 the 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 C-4
· cupresents.org · 303-492-8008
attention to detail: neither a note nor a bow-hair is out of place.” Based in Boulder at the University of Colorado, Edward Dusinberre and Harumi Rhodes, violins; Geraldine Walther, viola; and András Fejér, cello; perform 80 concerts a year worldwide. The Takács records for Hyperion Records, and its releases for that label 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). For its albums 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 ensemble’s next recording, to be released in October 2019, features Dohnanyi’s two piano quintets, with MarcAndré Hamelin, and his second string quartet. A recent tour with Garrick Ohlsson culminated in a recording for Hyperion of the Elgar and Amy Beach piano quintets that will be released in 2020. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder. The quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. Through the university, two of the quartet’s members benefit from the generous loan of instruments from the Drake Instrument Foundation. The members of the Takács are on the faculty at the Music Academy of the West in Santa Barbara, where they run an intensive summer string quartet seminar, and Visiting Fellows at the Guildhall School of Music. The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takács-Nagy, 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 Quartet Competition in Evian, France. After several changes of personnel, the most recent addition is second violinist Harumi Rhodes, following Károly Schranz’s retirement in April 2018. 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. To see a complete bio of the Takács Quartet, please visit takacsquartet.com.
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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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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.”
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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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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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