CU Presents Magazine Fall 2016, Oct. 28, 2016 by The Publishing House

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80th Anniversary

2016-2017 Season

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Contents

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The Artist Series: 80 years ..............6 Calendar ........................................8 Takács Quartet .............................12 Eklund Opera ..............................14 Faculty Tuesdays ........................24 Artist Series donors .....................26 Takács Quartet donors ...............30 Eklund Opera donors ..................32 Personnel lists .............................34

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The Artist Series Celebrates 80 Years 80 Anniversary th

Most performing arts series might celebrate their launch with, well, an arts performance. But CU Boulder, in true Front Range fashion, pioneered a different approach.

When CU’s Artist Series began in February 1937, thousands of Boulderites donned their finery, strolled across the concrete floors of Macky Auditorium and waited expectantly in hard wooden seats not for a classical musician or a dance troupe but for the Rear Admiral Richard E. Byrd, a renowned polar explorer. Through eight decades of events with world-renowned icons, from Isaac Stern to Andres Segovia to the Trapp Family Singers, Byrd remains the only lecturer to ever visit CU Boulder for an Artist Series event. CU Presents Executive Director Joan McLean Braun acknowledges it was a quirky start to the series but fit in well with its founding mission.

Baker, Artur Rubinstein and more. And as Boulder’s population evolved, so did the Artist Series, welcoming ballet ensembles, jazz and most recently world music. “Boulder is a contemporary city that highly values diversity,” Braun says. “People here love an opportunity to learn more about another culture, and immersing yourself in art is such an easy door to cultural understanding.” Braun, a Boulder native, says the most memorable Artist Series concerts she’s seen were those that shed light on a superstar’s fallibility. She still remembers an evening in the late 1990s when mezzo soprano Frederica von Stade forgot the words to an aria and the whole crowd held its breath, waiting to see how she’d recover. She can also recall the tears streaming down some patrons’ faces on the night pianist Leon Fleisher played for the first time since he’d regained the use of his right hand after a battle with focal dystonia.

“The idea behind the Artist Series was to bring culture and the rest of the world to little old Boulder,” Braun says. “This was before anyone had TV and before Highway 36 was anything more than a dirt road. Boulder was very much an isolated college town.”

Today, Boulder isn’t the disconnected hamlet it was in 1937, and in an age where cultural attractions fight for attention with on-demand television, social media streams and countless outdoor pursuits, Braun says she’s grateful locals still find live performances worthwhile 80 years later.

Boulder’s 12,000 civilians and then-fledgling college campus welcomed legends from the music world with open arms, delighting in solo recitals by Dame Janet

"There’s real value in going to a live performance and being in the moment, fully present, with a community of real humans around you.”

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2016-17 Season

80th Anniversary

MOMIX Opus Cactus Back by popular demand! Through daring movement, optical illusions and astounding inventiveness, the dancers of MOMIX create a dreamlike fantasy world. “Opus Cactus” brings the landscape of the Sonoran desert to life with slithering lizards, fire dancers and more. Sunday, Oct. 2, 2016, 7:30 pm Richard Goode Bach and Chopin Place two legendary keyboard composers in the hands of one of the world’s leading pianists and magic is bound to happen. Richard Goode brings tremendous emotional power, depth and expressiveness to the music of Johann Sebastian Bach and Frédéric Chopin. Friday, Oct. 28, 2016, 7:30 pm

The Nile Project

Take in vibrant, joyful and original music combining the traditions of 11 countries up and down Africa’s diverse Nile River basin. This “committed, euphoric international coalition” (The New York Times) of performers transcends language and cultural barriers to unite in harmony. Thursday, Feb. 2, 2017, 7:30 pm

Deborah Voigt Voigt Lessons

Experience the moving story of a world-renowned soprano’s successes and struggles in a performance that’s part recital and part one-woman show. Saturday, Feb. 18, 2017, 7:30 pm

Manhattan Transfer and Take 6 The Summit Spend an unforgettable evening grooving to innovative arrangements of jazz, pop, swing, gospel and R&B songs sung in impeccable harmony. With 20 Grammy Awards between them, the Manhattan Transfer and Take 6 are two of the most legendary groups in a cappella history. Friday, Nov. 11, 2016, 7:30 pm

Yo-Yo Ma

Ukulele Orchestra of Great Britain Christmas Concert Celebrate the holiday season with an octet of singing, strumming players from across the pond! The Ukulele Orchestra of Great Britain delivers a funny, virtuosic, twanging, foot-stomping evening of classic carols and new favorites. Thursday, Dec. 8, 2016, 7:30 pm

Danú The World’s Greatest St. Patrick's Day Celebration Danú brings together virtuosi players on flute, tin whistle, fiddle, accordion, vocals and more for a high-energy performance of ancient Irish music and new repertoire. This fan favorite returns to Boulder for an unforgettable St. Patrick’s Day concert. Saturday, March 4 2017, 7:30 pm

Flamenco Vivo Carlota Santana Poema de Andalucía

James Galway

Transport yourself to romantic southern Spain with an “infectiously joyful” (The New York Times) demonstration of authentic Spanish dance. This energetic performance combines sensual movement, colorful costumes and irresistible Andalusian folk music. Saturday, Jan. 21, 2017, 7:30 pm

The world’s greatest living cellist gives a once-in-a-lifetime solo recital on the Artist Series. From his partnership with the Silk Road Ensemble to his cross-disciplinary collaborations, Yo-Yo Ma is the only musician who can travel seamlessly between genres and cultures. Wednesday, Feb. 22, 2017, 7:30 pm

“The Man with the Golden Flute” pays a visit to Boulder for a mesmerizing, genre-defying performance. Between his classical credits, his star-studded collaborations and his iconic recordings for “The Lord of the Rings” films, Sir James Galway is the premier flutist of our time. Wednesday, March 22, 2017, 7:30 pm

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The Calidore String Quartet has established an international reputation for its informed, polished and passionate performances. The quartet was appointed to the prestigious roster of the Chamber Music Society of Lincoln Center Two for the 2016-19 seasons, has won grand prizes in virtually every major U.S. chamber music competition, and captured top prizes at the 2012 ARD Munich International String Quartet Competition and Hamburg International Chamber Music Competition.

Sunday, Aug. 28, 2016, 4:00 pm Monday, Aug. 29, 2016, 7:30 pm Sunday, Oct. 30, 2016, 4:00 pm Monday, Oct. 31, 2016, 7:30 pm Sunday, Feb. 19, 2017, 4:00 pm Monday, Feb. 20, 2017, 7:30 pm Sunday, March 19, 2017, 4:00 pm Monday, March 20, 2017, 7:30 pm The Grammy Award-winning chamber quartet has been selling out concerts for three decades at CU Boulder with an irresistible blend of virtuosic technique and engaging personality.

Die Fledermaus

Johann Strauss, Jr.'s glittering masked ball operetta comes to Macky Auditorium just in time for Halloween. This farcical, lighthearted work follows a group of Viennese friends from boudoir to ballroom to jail as they party the night away dressed in disguise, learning lessons about themselves and each other along the way.

Oct. 21-23, 2016

Sunday, April 30, 2017, 4:00 pm Monday, May 1, 2017, 7:30 pm Calidore String Quartet Sunday, Sept. 25, 2016, 4:00 pm Monday, Sept. 26, 2016, 7:30 pm

The Magic Flute For centuries, Mozart’s Red Hot and Cole timeless fairy tale has inspired children and adults alike all over the world. Like a fantasy adventure film come to life, The Magic Flute blends together whimsical humor and irresistible melodies to tell the gripping story of a prince who must outwit an evil queen to be united with his true love.

March 17-19, 2017

The Servant of Two Masters by Carlo Goldoni Opens Oct. 19 This classic commedia dell'arte tale, written in the 1700s, concerns the terrible complications wrought by the servant Truffaldino when he attends to two different masters at the same time. With the physical energy and extreme farce that only commedia can supply, he pushes physical and emotional limits to appease his masters and his growling stomach. "The Servant of Two Masters" is a tale of love lost, found and mistaken! Comming this Spring The Rocky Horror Show By Richard O'Brien Opens March 3

Peter and the Starcatcher By Rick Elice Opens Apr. 14

A “swellegant” theatrical party celebrating the life and irrepressible wit of Cole Porter, Red Hot & Cole celebrates the great American songwriter who brought style, elegance and sophistication to Broadway and Hollywood, delighting the world with clever rhymes, fresh melodies and a sassy, sexy sensibility.

April 27-30, 2017

Boneless (Dance Series) Opens Oct. 21 Boneless, a pair of dance works by two CU Boulder MFA students, uses richly physical movement to peer beneath the surface of human existence.

Twelfth Night Opens Nov. 4

By William Shakespeare A story of mistaken identities and love at first sight, “Twelfth Night” is the original romantic comedy. CU Boulder’s production, featuring an all-female cast, shines a new light on Shakespeare’s timeless words.

Plus much more! colorado.edu/theatredance/events

Open Space (Dance Series) Opens Nov. 11

In this student-produced and CU Dance Connection-curated series, dance works span a spectrum of styles, inviting and challenging viewers with exciting experimentations.

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For Takács Quartet, Beethoven Beckons

The University of Colorado Boulder’s famously loyal Takács Quartet fans can expect to hear a whole lot of Ludwig van Beethoven this season. CU Boulder’s longtime quartet-in-residence is gearing up for a season of Beethoven’s entire string quartet canon to coincide with the recent release of violinist Edward Dusinberre’s book, Beethoven for a Later Age: Living with the String Quartets. They’ll perform some of the pieces in Boulder and others in a handful of major international cities. “It was just time to perform the cycle again,” says Takács Quartet founder and cellist András Fejér. “It’s always nice to re-immerse yourself in these gorgeous pieces. Thinking about Ed’s book while playing will be the cherry on top.” The Grammy-winning group, often considered one of the finest chamber ensembles in the world, is no stranger to the composer whose unique sound famously bridged the classical and romantic periods. A decade ago, the Takács released a recording of Beethoven’s complete string quartets to unanimous critical acclaim. The New Yorker’s Alex Ross called it “the most richly expressive modern account of this titanic cycle.”

For Fejér, there’s no composer whose music is more moving and endlessly fascinating than Beethoven’s, so it’s no wonder that the quartet returns to his work again and again. “The breadth and the scope of the pieces, starting from his early quartets and finishing with the quartets written after his Ninth Symphony … the emotions, the passion, the way he turns the classical structure on its head … the way he builds themes … it’s all incredible,” Fejér says. “The combination of all these factors makes the Beethoven string quartets some of the most difficult pieces to perform, digest, analyze and synthesize.” When the quartet isn’t tackling Ludwig in the 201617 concert season, they’ll be partnering up with CU Boulder’s many talented, award-winning faculty musicians for pieces both familiar and new to them, including Dohnányi’s Piano Quintet, Schubert’s “Trout” Quintet and selected songs by Brahms. “Every piece we play with our colleagues is exciting because we don’t have the opportunity to play it too many times,” Fejér says. “It’s wonderful to have an outside influence and outside energy taking us places where we wouldn’t normally go as a quartet.” Aug, 28, 2016 to May 1, 2017 | Tickets start at $36

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Eklund Opera’s Festive ‘Fledermaus’ This fall, just in time for Halloween, CU Boulder’s Eklund Opera program is set to bring Johann Strauss, Jr.’s glittering masked ball operetta to Macky Auditorium.

“Operettas were as popular during that time period as they are today,” Holman says. “People loved Die Fledermaus because there was dancing, lots of good jokes, physical humor and colorful sets”—a welcome break from the era’s increasingly serious and dramatic grand operas.

Die Fledermaus, consistently popular with audiences for a century and a half, follows a group of Viennese friends from boudoir to ballroom to jail as they party the night away dressed in disguise, learning lessons about themselves and each other along the way.

Holman says she’s never directed Die Fledermaus before, but she fondly remembers playing Prince Orlofsky in a production of the operetta at the University of Tennessee at Martin. The part of Orlofsky—a nobleman so comically cosmopolitan that no scandal shocks him anymore— is what’s called a trouser role, meant to be sung by a woman playing a man.

“It’s a light, fun piece that anyone can enjoy,” says Eklund Opera Director Leigh Holman, who also directs the production. “It’s perfect for this time of year, right when everyone is getting ready for the holidays, because it feels very festive.” Die Fledermaus premiered in Vienna in 1874, at the height of a prosperous era for the Austrian city. The Hapsburg reign was in full swing, Vienna was nicknamed “the city of dreams,” and its cultural goings-on were the envy of every other city in the Western world. Perhaps that’s why Die Fledermaus was the Hamilton of its time, selling out shows in every city to which it traveled: Its frothy, funny, champagne-soaked plot captured the period zeitgeist so well that the Viennese saw themselves in the characters on stage.

“In Strauss’ time, the trouser roles would have been considered very risqué and alluring to men in the audience,” Holman says. “Back then, most women were wearing full-length ballgowns, and it would have been exciting to see a woman’s ankles and a very clear outline of her body.” Seeing a woman in pants may not be cause for excitement in 2016, but Die Fledermaus, with its festive atmosphere, famous Straussian waltzes and funny one-liners, is just as thrilling as it was a century and a half ago. Oct. 21-23 in Macky Auditorium | Tickets start at $20

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Richard Goode

80th Anniversary

RICHARD GOODE — October 28, 2016

Program Piano Sonata No. 8 in A minor, K. 310 I. Allegro maestoso II. Andante cantabile con espressione III. Presto From On the Overgrown Path Our evenings A blown-away leaf Come along with us! Good night!

Wolfgang Amadeus Mozart (1756-1791)

Leoš Janáček (1854-1928)

Six Klavierstücke, Op. 118 1. Intermezzo. Allegro non assai, ma molto appassionato (A minor) 2. Intermezzo. Andante teneramente (A major) 3. Ballade. Allegro energico (G minor) 4. Intermezzo. Allegretto un poco agitato (F minor) 5. Romance. Andante (F major) 6. Intermezzo. Andante, largo e mesto (E-flat minor)

Johannes Brahms (1833-1897)

Intermission Six Preludes from Book Two La puerta del Vino Les fées sont d’exquises danseuses Bruyères “Général Lavine” - eccentric La terrasse des audiences du clair de lune Ondine

Claude Debussy (1862-1918)

Sonata No. 31 in A-flat, Op. 110 Ludwig van Beethoven I. Moderato cantabile molto espressivo (1770-1827) II. Allegro molto III. Adagio ma non troppo-Arioso dolente-Fuga I-Allegra ma non troppo-Arioso-Fuga II Exclusive Artist Management: Frank Salomon Associates, Inc. 121 West 27 Street, Suite 703 New York NY 10001 (212)581-5197 | info@franksalomon.com | franksalomon.com

This Concert is Generously Sponsored by

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Program Notes By Marc Shulgold

RICHARD GOODE — October 28, 2016

Piano Sonata No. 8 in A minor, K. 310

Wolfgang Amadeus Mozart

Mozart had high hopes for success when he visited Paris with his mother in the early summer of 1778. No such luck. Yes, his exciting “Paris” Symphony (K. 297), meticulously tailored to French tastes, was wellreceived—but he could land only one commission while in Paris; the Flute-Harp Concerto (for which he was never paid). Then, tragedy: His mother, ill for most of June, died on July 3. And so, in that same month comes the A-minor piano sonata, a work that begins with such dark, anguished music that it’s easy to imagine the composer pouring his grief onto the page. Mozart rarely wrote in a minor key (this is only one of two keyboard sonatas not set in the major), and there is, indeed, unmistakable seriousness here. But it’s too easy to read expressions of personal emotion into the score—that just wasn’t Mozart’s style. In

On the Overgrown Path (excerpts)

Leoš Janáček

If there’s danger in injecting a composer’s personal experience into Mozart’s K. 310, it’s impossible not to do so in Janáček’s two collections of piano pieces, On the Overgrown Path. Consider the Czech composer’s revealing titles for each of the 10 in Book 1, four of which will be sampled tonight (The second book of five untitled pieces remained unpublished until 1942). How could we avoid imagining images and feelings Janáček felt as he wrote? Even the umbrella title has special meaning for the composer, who described “walking along an overgrown path of old memories.” Janáček revealed his lasting reminiscences inhabiting the miniatures of Book 1 in titles he added when the set was finally published in 1911. The first collection,

Six Klavierstücke, Op. 118

written between 1901 and 1910, seems initially to call up pleasant scenes (the first five were actually intended for the harmonium). But then we reach the final three pieces, which express the composer’s grieving over the death of his only child, Olga, at age 21 in 1903 (the first of those is titled Unutterable Anguish!). Despite their evocative titles, the four excerpts heard are not literal depictions, although Come along with us! has a playful quality to it, setting a scene likely typical for Janáček in his youth. Is the gentleness of the concluding Good Night! intended as a lullaby or as a sweet farewell between lovers? You decide.

Johannes Brahms

Our theme of “Music as Autobiography” continues with six late keyboard works that may be viewed as the composer’s autumnal reflections of life. Or maybe not. With Brahms, you never really know. The Klavierstücke (Keyboard Pieces) of Op. 118 were published in 1893 (he had only four years left), part of a spurt of piano music representing Brahms’ final thoughts on an instrument that had been a dear friend and musical voice through the years. It’s impossible to know the exact chronology of the seven Intermezzi and Capriccios of Op. 116, the three Intermezzi of Op. 117, the Ballade, Romance and four Intermezzi of Op. 118 and the three Intermezzi and Rhapsodie of Op. 119—though it’s safe to say that they all date from 1892-93. Are these 20 miniatures to be taken as passionate expressions of an elderly composer’s thoughts and moods? It seems so. There is melancholy sprinkled here and there (Brahms admitted as such

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fact, the inspiration for this work can more directly be traced to the music of Johann Schobert (c. 1735-67). Born in Eastern Europe, he had settled in Paris and was quite admired by the pre-teen Mozart (though the ever-doting Papa Leopold disapproved of their friendship). In fact, Mozart inserted a theme from one of Schobert’s sonatas inside K. 310’s slow movement, a tune the young composer had already adapted as the slow movement of his second piano concerto (K. 39). So, it’s unwise to interpret the A-minor sonata’s profundity as a response to the death of a loved one. That said, there is a universal sense of frustration, anger and loss in the A-minor’s restless opening and closing movements, surrounding a quiet serenity in the Andante, sharply interrupted by more turbulence (and that quote from Schobert).

when he sent Op. 119 to his beloved friend Clara Schumann). If we simply let our imaginations and our own life experiences guide us, this music can become deeply personal. And don’t pay too much attention to the various names of each piece. While Brahms was likely not haphazard in designating the titles, his reasons remain vague. What matters in approaching the Klavierstücke is the music’s wide-ranging color palette: the broad and sweep of the first Intermezzo, the gentle sweetness of the second, the youthful energy of the Ballade, the restless mood swings of the third Intermezzo, the sheer loveliness of that cascading middle section in the Romanze and, dare we surmise, the expression of loneliness in those four quiet notes that begin the final Intermezzo—and later explode in triumphant chords, before returning to near-silent resignation.

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Six Preludes from Book Two

Claude Debussy

Sonata No. 31 in A-flat, Op. 110

emerged from a picture postcard of the Alhambra Debussy had received from Manuel de Falla. Général Lavine—eccentric came after the composer enjoyed a performance by the American clown Edward Lavine, who played the piano with his toes. The rapid trills and feathery light arpeggios of Les fées sont d’exquises danseuses (Fairies are Exquisite Dancers) found their source in an illustration by Arthur Rackham for Sir James Barrie’s book Peter Pan in Kensington Gardens, a gift to Debussy’s little girl, nicknamed Chou-Chou. Another Rackham illustration—this time for a fairytale about the mermaid Undine—led to the watery splashes of Ondine. Images of the exotic world of the East inspired La terrasse des audiences du clair de lune (The Balcony Where Moonlight Holds Court), drawn from a newspaper account of King George V’s coronation as Emperor of India. Debussy’s love of natural settings can be heard in the relaxed folkiness of Bruyères (Heather).

Ludwig van Beethoven

The final trio of piano sonatas by Beethoven was written over a span of three years – a period in which very little else of importance was composed. The middle of this celestial group, the A-flat of Opus 110, was completed in 1821, a year marked by the publication of some keyboard Bagatelles and pretty much nothing else (work on the Missa Solemnis and Ninth Symphony did occupy much of his time). What followed Opus 110 and the final sonata, Opus 111, was a concentrated, world-changing examination of the String Quartet. The A-flat sonata carries no dedication, the result of Beethoven’s notorious fickleness with his friends. Musically, it is structured like none of the other 31. Though three movements are indicated, the Sonata is really built on four movements, the final fugue growing out of the emotionally charged Adagio. In any case, the work seems all of one piece, with each change of mood emerging in crystal clarity out of the

music that precedes. Even the jolting shift from the gentle opening Moderato to the furious, rhythmically unpredictable Scherzo seems natural. But how can we be prepared for those seven concluding chords that lead to the Adagio—and then to the “weeping” motif that unfolds with a deeply mournful Arioso dolente (Sorrowful Song)? The fugue that follows unexpectedly leads to the “weeping” Adagio’s return. Beethoven again surprises us with ten ever-growing chords that lead to a return of the fugue – this time it’s turned upside down! It all ends in emphatically grand fashion, supporting Beethoven’s notation indicating “a coming to life again.” Is this magnificent work another example of Musical Autobiography? Perhaps Beethoven is speaking to us, sharing the triumphs and anguish of his extraordinary life, just as the other composers heard on this program have done.

The College of Music Advisory Board list should include chair Mikhy Ritter and members Sue Baer, Kathy Kucsan, Tom Price, and Becky Roser. The College of Music Dean’s Cabinet should also include Brice Johnson, Senior Director and HR Strategic Partner, and David Mallett, Senior Director of Budget and Finance. | 303-492-8008 | cupresents.org | Get Soci@cupresents |

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RICHARD GOODE — October 28, 2016

Debussy producing two sets of 12 Preludes suggests a reference to Bach’s 24 Preludes and Fugues from the Well-Tempered Clavier or Chopin’s set of two dozen—but there is no ordering of major and minor keys as in those two predecessors. Not to mention that Debussy gave evocative titles to his Preludes, albeit names that he afixed at the end of each, almost as an afterthought (similar to Janáček’s approach in his suite heard earlier). This serves as a reminder that this composer was not interested in following the path most traveled, a direction made clear when he said, “... the nature of music can not be forced into a strict, prescribed form. It is made up of colors and rhythmical time.” The first set of Preludes was written in 1910, with the second completed three years later. In most cases, the individual titles refer more to the source of musical inspiration, rather than providing a description of the music itself. Thus, La puerta del vino (The Wine Door) and its habanera rhythm

RICHARD GOODE — October 28, 2016

Richard Goode has been hailed for music-

making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following. Gramophone magazine recently captured the essence of what makes Richard Goode such an original and compelling artist: ‘‘Every time we hear him, he impresses us as better than we remembered, surprising us, surpassing our expectations and communicating perceptions that stay in the mind.” Richard Goode opens his 2015-2016 season as soloist with the Los Angeles Chamber Orchestra and Jeffrey Kahane, followed by appearances with the Orchestre de Paris and Herbert Blomstedt, the Cincinnati Symphony and David Zinman, and the Orchestre National de Lyon and Ton Koopman, among others. A compelling recitalist, Mr. Goode will be featured in the Great Performers Series at Lincoln Center in New York, at the Royal Festival Hall in London, in the Chicago Symphony series, and at major venues in the U.S. and Europe including those in Budapest, Cleveland, Denver, Dublin, Genova, Glasgow, Kansas City, Philadelphia, San Francisco, Vancouver and Washington, DC. He will also return to both the Gilmore Festival and Krannert Center at the University of Illinois in addition to performing in a gala concert celebrating the 30th Anniversary of the Philadelphia Chamber Music Society. In the 2014-2015 season Mr. Goode opened Lincoln Center’s Mostly Mozart Festival and was featured in five appearances at Carnegie Hall. In addition to a recital in the main hall, he appeared as a soloist with the Boston Symphony Orchestra under the baton of Andris Nelsons, in two chamber music concerts with young artists from Marlboro Music Festival and conducting a master class on Debussy piano works. He was also heard as soloist with orchestras including the Los Angeles Philharmonic, St. Louis, Milwaukee and San Diego Symphonies. In addition, he performed recitals at the Concertgebouw in Amsterdam, Wigmore Hall in London, the Celebrity Series of Boston, Cal Performances in Berkeley, the Philadelphia Chamber Music Society, the University Musical Society in Ann Arbor, at Shriver Hall in Baltimore, in Toronto at the Royal Conservatory, at The Schubert Club in St. Paul, Spivey Hall in Atlanta, Yale School of Music, Dartmouth College, Duke Performances, Middlebury College and in other major series in the U.S. and Europe. Among the highlights of recent seasons have been the recitals in which, for the first time in his career, Mr. Goode performed the last three Beethoven Sonatas in one program, drawing capacity audiences and raves in such cities as New York, London and Berlin. The New York Times, in reviewing his Carnegie Hall performance, hailed his interpretations as “majestic, profound readings......Mr. Goode’s playing throughout was organic and inspired, the noble, introspective themes unfolding with a simplicity that rendered C-4

them all the more moving.” Recent seasons have also included performances with the Metropolitan Opera Orchestra led by Fabio Luisi at Carnegie Hall; with the Los Angeles Philharmonic and Gustavo Dudamel; with Orpheus on tour and at Carnegie Hall playing the Schumann Concerto; and on tour with the Boston Symphony Orchestra. An exclusive Nonesuch recording artist, Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to lieder and concertos. His latest recording of the five Beethoven concertos with the Budapest Festival Orchestra and Iván Fischer was released in 2009 to exceptional critical acclaim, described as “a landmark recording” by the Financial Times and nominated for a Grammy award. His 10-CD set of the complete Beethoven sonatas cycle, the first-ever by an American-born pianist, was nominated for a Grammy and has been ranked among the most distinguished recordings of this repertoire. Other recording highlights include a series of Bach Partitas, a duo recording with Dawn Upshaw, and Mozart piano concertos with the Orpheus Chamber Orchestra. A native of New York, Richard Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. His numerous prizes over the years include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy award for his recording of the Brahms Sonatas with clarinetist Richard Stoltzman. His first public performances of the complete cycle of Beethoven sonatas at Kansas City’s Folly Theater and New York’s 92Y in 1987-88 brought him to international attention being hailed by the New York Times as “among the season’s most important and memorable events.” It was later performed with great success at London’s Queen Elizabeth Hall in 1994 and 1995. Mr. Goode served, together with Mitsuko Uchida, as co-Artistic Director of the Marlboro Music School and Festival in Marlboro, Vermont from 1999 through 2013. Participating initially at the age of 14, at what the New Yorker magazine recently described as “the classical world’s most coveted retreat,” he has made a notable contribution to this unique community over the 28 summers he has spent there. He is married to the violinist Marcia Weinfeld, and, when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.

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A SSISTED L IVING

M E M O RY C A R E

Play on!

Program Insert

Yours is an Unfinished Symphony

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Christmas with Ars Nova – December 9, 10, 11

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Voices & Viols – February 25, 26

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

AUGUST

Sweet Harmony CU Voice Faculty

The CU voice faculty celebrate Shakespeare at CU’s exhibition of Shakespeare’s First Folio at the CU Art Museum by presenting a recital of musical highlights featuring the Bard’s texts, including art songs and opera excerpts in multiple languages by great composers such as Berlioz, Gounod, Strauss, Korngold and Quilter.

SEPTEMBER

Give Me Some Music CU Keyboard Faculty Special Thursday performance

In a concert celebrating the “First Folio! The Book that Gave Us Shakespeare” exhibit, the CU keyboard faculty and guests present music inspired by Shakespeare. The program includes works by Liszt, Mendelssohn and Prokofiev as well as a chamber work by late Professor Emeritus Luis Jorge Gonzalez.

Guitar Rarities

Ritter Family Classical Guitar Faculty An evening of rarely performed chamber music with guitarists Nicolò Spera, Lorenzo Micheli, Matteo Mela and special guests.

Romance & Fireworks!

Woodwinds in Evening

Chas and David present the pairing of Brahms’ Sonata No. 3 with Paul Juon’s Sonata No. 3, a wonderful juxtaposition that shows the influence of the former. Also on the program are three rondos composed by David Korevaar in 1986 and the always exciting “Gypsy Airs” by Pablo de Sarasate.

Join us for “The Wind in Our Sails: An Evening with the CU Woodwind Faculty.” A delightful program features works by Camille Saint-Saëns and Jean Françaix and the sublime “Symphony” by Charles Gounod. Enjoy flute, oboe, clarinet, bassoon and classic works for saxophone. There will be something for everyone … and the person sitting next them too!

OCTOBER

NOVEMBER

Charles Wetherbee, violin, and David Korevaar, piano

Messiaen & Kellogg

Clarinetist Daniel Silver and friends Please join us for “The Quartet for the End of Time,” one of the most monumental event pieces in all of chamber music. It was composed while Messiaen was held in a prisoner-of-war camp in German-occupied Silesia. The evening begins with faculty composer Daniel Kellogg’s moving “Plainsong.”

Ginastera’s 100th

Pianist Alejandro Cremaschi and friends

Bassoon Exquisite Bassoonist Yoshi Ishikawa and friends

Works by Bill Douglas, Robert Spillman, Willard Elliott and Jean Françaix feature the lyrical and agile voice of the bassoon in chamber settings.

Alberto Ginastera, born 100 years ago, captured the essence of the Argentine gaucho in a highly original and exhilarating musical style. Our celebration includes his chamber music, song cycles and solo piano works.

Harp Recital

Be (bop) Boulder!

Janet Harriman, harp

The Thompson Jazz Faculty The Thompson Jazz Studies Program faculty members perform a selection of original contemporary jazz from their recent recording.

“Acrostic Paraphrase” for solo harp from “Final Alice” by David Del Tredici and “Legs” by Neal Hefti, arranged by B. Rooker and performed by the CU harp studio.

More info at colorado.edu/music

Can’t make it? Watch the online livestream at our website!

CU Woodwind Faculty

Piano Romance Hsing-ay Hsu, piano

How can piano music express the transcendent state of being loved? Pianist Hsing-ay Hsu explores a few different compositional approaches with the astonishing genius of Schumann, Rachmaninoff and Liszt as part of her ongoing “Four Loves Project” concerts.

A Brass Menagerie

Colorado Symphony Brass Quintet Celebrate an evening of brass chamber music with the Colorado Symphony Brass Quintet. From solo works to various ensemble repertoire, this performance will provide an exciting journey through the many glorious sonorities that make the brass section so popular with composers and audiences alike!

Vienna to Budapest Harumi Rhodes, violin, and David Korevaar, piano

Join Rhodes and Korevaar on a trip from Vienna to Budapest! First stop: Beethoven’s Sonata No. 2. Last stop: Bartok’s Sonata No. 2. And along the way, there’s an exploration of Webern’s visionary Four Pieces for Violin and Piano, Op. 7. It’s an excursion not to be missed, full of fantasy, wonderment and lyricism.

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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.

80th Anniversary

Gil Berman Rudy Betancourt Joan McLean Braun

John Davis Diane Dunn Mike Gallucci

Benefactor

Mark and Margaret Carson Diane and Richard Dunn Paul Bechtner Foundation Greg Silvus and Melanie Miller

Sponsor

Gil and Nancy Berman Mary Lamy Ellen and Joshua Taxman

Patron

Anonymous Joan McLean Braun Chris and Barbara Christoffersen Daryl and Kay James Ruth Carmel Kahn Janet and Scott Martin John F. Mckune Louise Pearson and Grant Couch Daniel and Boyce Sher

Artist Series Advisory Board Lissy Garrison Laima Haley Daryl James, President

Maryan K. Jaross Ruth Kahn Jerry Orten

Supporter

Elmer Altschuler and Melisse Perre-Altschuler Center Copy Boulder, Inc. Lawrence Cohn Martha Coffin Evans and Robert Trembly II Carol and Michael Gallucci Heidi and Jerry Lynch Robert and Sandra McCalmon Judy and Alan Megibow Tiffany Myers and J. M. Steffan Knapp Jerry and Jamie Orten Mikhy and Michael Ritter Theodore and Ruth Smith Lawrence and Ann Brennan Thomas

Contributor

Gregory and Gladeane Lefferdink Susan and Jon Lounsbury John Mantey and Erma Mantey Elizabeth Rauch Alicia and Juan Rodriguez Paul and Luana Rubin Alan and Stephanie Rudy Douglas and Avlona Taylor

Louise Pearson Erika Randall Robert Shay

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Member

Anonymous Shirley Carnahan Noel A. and Pauline A. Clark Douglas and Rita Dart Robbie Dunlap Leslie and Merrill Glustrom John Graham and Lorin Lear Damon and Laima Haley Jo and David Hill Matthew and Michele Hoovler Maryan Jaross Caroline and Gary Kounkel Pam Leland Judah and Alice Levine Gail and Thomas Madden Paul and Kay McCormick Gail and Julie Mock Margaret Reagor Randall Kenneth Rutsch Courtland and Carolyn Spicer Zoe Stivers Lloyd Timblin Jr. Geoffrey Tyndall Heather Van Dusen Jack and Sophie Walker

Corporate Sponsors

Boulder CPA Group, Food & Water Watch, Frasier Meadows Retirement, H.B Woodsong's, Hurdle's Jewelry, James & Associates, Shaw Construction, WESTAF

In-kind Sponsors

Boulder Blooms, Camera, Hotel Boulderado, KUVO, Liquor Mart, Savory Cuisines Catering

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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 Takacs String Quartet

Sponsor

P.J. Decker and B.A. Saperstein Carol Lena Kovner David and Janet Robertson Marion Thurnauer and Alexander Trifunac

Patron

Thomas and Carol Cech Chris and Barbara Christoffersen Lauren Frear John and Carson Taylor

Supporter

Virginia Boucher William and Alice Bradley Patricia Butler Richard Jessor and Jane Menken Robert R. Kehoe Walter and Eileen Kintsch Paul and Nancy Levitt Patricia and Robert Lisensky Maxine Mark Lise Menn Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter David and Susan Seitz Lawrence and Ann Brennan Thomas

Contributor

Lois Abbott Carolyn and Don Etter Doree and Jerry Hickman Bob and Lori Schuyler Helen Stone Patricia Thompson Laurie and Arthur Travers

Member

Anonymous Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Noel A. and Pauline A. Clark Charlotte Corbridge Richard and JoAnn Crandall Barbara and Carl Diehl Jean and Bob Fischer Lloyd and Mary Gelman Ken and Dianne Hackett Catharine and Richard E. Harris John and Ruthanne Hibbs Elizabeth and Jonathan Hinebauch William Hoffman Ruth and Richard Irvin Bruce and Kyongguen Johnson Patricia L. Johnson Jennifer and Bob Kamper Mireille Key Alice and Judah Levine

Albert and Virginia Lundell Heidi and Jerry Lynch Gail and Thomas Madden Caroline E. Malde John and Nancy Malville Ralph and Nancy Mann J. Richard and Marjorie McIntosh Peter and Doris McManamon Josef and Sara Michl Christopher B. Mueller and Martha A. Whittaker Joan and Ronald Nordgren Faith and Roy Peterson Julie and Wayne Phillips Antonia and Timothy Piwonka-Corle Joanna and Mark Rosenblum JoAn Segal Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Berkley A. Tague Betty Van Zandt Anthony White James and Nurit Wolf Bill Wood Michael Yanowitch

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, please call the College of Music Development Office at 303-735-6070.

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CREATION

Join us for a musical journey. CREATION: Joseph Haydn Creation | October 28 & 29 LOVE & DEATH: Shostakovich Symphony No. 14 | January 20 & 21 TRIUMPH: Beethoven Symphony No. 3, Eroica | April 7 & 8 Fridays in Denver and Saturdays in Boulder

For more information and to purchase tickets, visit

YEAR ANNIVERSARY

ProMusicaColorado.org

love & death

TRIUMPH

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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

Contributor

Anonymous David Allen and Carol DeBaca Paul Eklund Robert Stuart Graham Robert Martin The Academy Charitable Foundation, Inc.

Susan Graber Heidi and Jerry Lynch Claudia Boettcher Merthan Dennis Peterson Dave and Ann Phillips R. Alan and Stephanie Rudy Cynthia and Paul Schauer Carol and Randall Shinn Theodore and Ruth Smith Helen Stone Peter Wall

Sponsor

Alan and Martha Stormo

Patron

Grants

Chris and Barbara Christoffersen Lloyd and Mary Gelman Albert and Betsy Hand Gordon and Mitzi Ledingham Krista Marks and Brent Milne

Supporter

Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation The Schramm Foundation

Anonymous Norman and Vivian Belmonte Stephen Dilts Martha Coffin Evans and Robert Trembly John Hedderich Bob and Mikee Kapelke Mikhy and Mike Ritter Bob and Lori Schuyler Lawrence and Ann Brennan Thomas Ken and Ruth Wright in memory of Mayme Lacy

Member

Anonymous Judith Auer and George Lawrence Jeanie Davis Walter Duncan Donald and Beverly Eklund Joseph and Beverly Elinoff Alexander R. George and Yi-Ting Hsu Ellen and John Gille Janet Hanley Norman Clark Lane Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Bruce Mackenzie Michael Magan Marian Matheson Donna Meckley Kathleen and John Ness Robert and Marilyn Peltzer Kim and Richard Plumridge Gail Promboin and Robert Burnham Juan and Alicia Rodriguez Ruth Schoening Carol and Art Smoot

About 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 Staff

Joan McLean Braun, Executive Director Laima Haley, Marketing and P.R. Director Jessie Bauters, Assistant Director of Communications and Web Administrator Daniel Leonard, Marketing Manager Jill Kimball, Public Relations Manager Helen Slivinski, Communications Assistant Video Production: Allea Ortega, Jackson Xia Mel Plett, Publications Manager Zachary Barger, Publications Assistant Nick Vocatura, Operations Director Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Grace Burns, Elise Campbell, Taralynn Dorr, Matthew Farquharson, Adrienne Havelka, Chris Ruiz Kevin Harbison, Recording Engineer Michael Johnston, Financial Manager Jeni Webster, Membership Benefits Coordinator

Macky Auditorium Staff

Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager

College of Music Dean's Cabinet

Robert Shay, Dean James Austin, Associate Dean for U.G. Studies Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Steven Bruns, Associate Dean for Grad. Studies John Davis, Associate Dean for Faculty Affairs and Operations Lissy Garrison, Assistant Dean for Advancement Alexander George, Executive Assistant to the Dean

College of Music Advisory Board Jim Bailey Christopher Brauchli Bob Bunting Jan Burton Bob Charles Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman

Doree Hickman Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Erma Mantey Ben Nelson Joe Negler Susan Olenwine Firuzeh Saidi Jeannie Thompson Jack Walker

Honorary Members:

Dean Boal, Eileen Cline, Donna Erismann and Dave Grusin

Program Editor: Jill Kimball Program Design/Layout: Mel Plett

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 the Euclid Avenue auto-park, Lot 310 and Lot 204. Contact the Box Office, or check the CU Presents website for more information.

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

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

Food

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

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

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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