Global performance. World-class entertainment. You have to be here.
2016-2017 Season
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Contents
With US
Flute Month .........................................6 Calendar ..............................................8 Bud Coleman .....................................20 CU NOW .................................. ..........22 Artist Series donors ...........................26 TakĂĄcs Society donors .....................30 Eklund Opera donors .......................32 Personnel lists ..................................34
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CU's Flute Month 80th Anniversary
Football games. Fourth of July parades. Princess Leia’s theme in “Star Wars.”
All of these cultural hallmarks have something surprising in common: They prominently feature the flute. “The flute is everywhere,” says Christina Jennings, associate professor of flute at CU Boulder. “We’re surrounded by the sound of it without consciously being aware of it. It’s part of our human identity.” Jennings loves the instrument so much that she’s created a two-day festival called Once A Flutist for youth, alumni, lapsed adult flutists and curious community members. It’s just one of many flute-centric events happening this March; also on the agenda are concerts featuring world-famous musician James Galway and Irish ensemble Danú, a free Faculty Tuesday event with Jennings and some of her flute studio alumni, and a colorful Eklund Opera production of Mozart’s “The Magic Flute.” While CU Presents Executive Director and flutist Joan McLean Braun says the collision of flute events in March was pure coincidence, she’s not surprised: it’s one of the most popular instruments out there. “It’s a fun instrument, lovely and melodic, so it lends itself well to all kinds of music,” she says. “As soon as I could finally make a sound on the dang thing, I was hooked.” She’s looking forward to hearing James Galway, who reached fame through collaborations with the Chieftains
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and recordings for “The Lord of the Rings” soundtracks, in recital. “He has a magnetic personality, and he’s really been an ambassador for the flute and all of the different genres it can inhabit,” Braun says. “He approaches it with joy and fun, and I think people respond to that.” “Joy” and “fun” are also apt descriptors of “The Magic Flute,” the world’s most famous and frequently performed opera. Though today it’s often staged for children, Eklund Opera Music Director Nicholas Carthy says Mozart wrote it for people of all ages to enjoy. “It seems to appeal to everybody on several different levels,” he says. “On a very basic level, the story is a lot like ‘Shrek’—a romantic comedy with a funny sidekick who talks too much. But there are so many levels to the plot—not to mention the incredible music.” Jennings, who fell in love with “The Magic Flute” as a child and performed it with Houston Grand Opera, is delighted she’s involved in a month-long, campus-wide celebration of the oldest instrument on Earth, one that’s touched every continent and almost every culture. “If you ask most flute players why they were attracted to it,” she says, “it always has something to do with the sound. It’s so close to singing and the sound holds so much possibility.” Danú: Saturday, March 4 | tickets start at $20 Once A Flutist: March 21 & 22 | more information at colorado.edu/music/once-a-flutist The Magic Flute: March 17-19 | tickets start at $20 James Galway: Wednesday, March 22 | tickets start at $20
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2016-17 Season 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 p.m.
80th Anniversary
Sir James Galway, Lady Jeanne Galway and friends
“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 p.m.
Global performance. World-class entertainment. You have to be here.
Faculty Tuesdays 7:30 p.m., Grusin Music Hall • Free and open to the public
February 28
March 7
March 14
Violinist Geraldine Walther and friends Geraldine Walther, Harumi Rhodes, David Requiro and David Korevaar perform a variety of works and styles, from Beethoven's String Trio in G Major to Schoenberg's seldom-performed String Trio to the romantic and popular Piano Quartet in E-flat Major by Robert Schumann.
Pianist Alexandra Nguyen and friends This program features the creative outcomes of musings: contemplations on color and energy, the cosmos and life. Don't miss the beloved Patrick Mason in his last faculty performance before he begins his exploration of new vistas at the end of the academic year. Works by Higdon, Gougeon and Rachmaninoff.
Tubaist Mike Dunn and friends A varied concert featuring Mike Dunn, students and facutly of the College of Music.
From Old to New
Musings
More info at
Tuba or Not Tuba
March 21
Once a Flutist...
Flutist Christina Jennings and friends Christina Jennings performs as part of the Once a Flutist festival in a program celebrating the diversity and community of the oldest instrument on Earth. Joining her will be members of the Eisenhower Elementary School choir, the CU choirs wtih conductor Gregory Gentry, and many current and former CU flute studio alumni.
colorado.edu/music
Can’t make it? Watch the online livestream at our website! 8
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The Grammy Award-winning chamber quartet has been moving audiences and selling out concerts for three decades at CU Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, "The Takács Quartet are matchless, their supreme artistry manifest at every level."
Sunday, March 19, 4 p.m. Monday, March 20, 7:30 p.m. Sunday, April 30, 4 p.m. Monday, May 1, 7:30 p.m.
Red Hot and Cole celebrates Cole Porter, 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.
The Magic Flute Like a fantasy adventure film come to life, Mozart's 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.
April 27-30
March 17-19
The Rocky Horror Show Opens March 3
by Richard O'Brien
When a newly engaged couple gets caught in a storm and meets the tan, muscular new creation of mad transvestite scientist Frank N. Furter, their world is forever changed.
Coming Soon Fefu and Her Friends by Maria Irene Fornes Opens April 5 FRESH a Dance Sampler Opens April 28
Alter/Altar Opens March 3 MFA Dance Works In a shared evening of dance, MFA candidates Gwen Ritchie and Arneshia Williams each create, revisit and revise spheres of knowing from their own unique kinesthetic voices.
Peter and the Starcatcher Opens April 14 by Rick Elice, with music by Wayne Barker based on the Novel by Dave Barry and Ridley Pearson Ever wondered what Peter Pan’s childhood was like before Wendy met him in Neverland? Based on a best-selling 2006 novel, Peter and the Starcatcher travels back to Peter’s early adventures in an orphanage, aboard a weather-beaten ship holding precious cargo and on a magical remote island.
Plus much more! colorado.edu/theatredance/events
The Current
(Dance Series) Faculty and guest artists present innovative dance works that reflect the rich diversity of CU Boulder’s Dance Division. From transnational fusion to experimental dance theatre, from Hip-Hop to aerial dance, audiences will experience the depth and dimension of the program’s offerings.
Celebrate the 60th Season of the Colorado Shakespeare Festival! 2017 Lineup:
The Taming of the Shrew Hamlet Julius Caesar Rosencrantz & Guildenstern are Dead 60th Season
coloradoshakes.org
by Tom Stoppard
Henry VI, Part 3
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The Colorado Shakespeare Festival is a professional theatre company in association with the University of Colorado Boulder. Since 1958, the festival has celebrated and explored Shakespeare and his continuing influence and vitality through productions of superior artistic quality, education and community engagement.
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Sir James Galway is generously sponsored by:
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Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community. We’re proud to sponsor the University of Colorado College of Music.
For subscription information call 303.444.3444 or visit DailyCamera.com.
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Honest, Thoughtful, Experienced. With over 40 years of experience as a Realtor, Eric’s direct approach has kept him as a top producer. RE/MAX “Hall of Fame” & “Lifetime Achievement” Awards
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2016 -17 SEASON The Boulder Phil Goes to Washington, DC: “NATURE & MUSIC” CONCERTS Sat., Mar. 25, 7:30 PM Macky Auditorium Tue., Mar. 28, 8 PM Kennedy Center, DC LIAS All the Songs that Nature Sings
Commemorating the 100th anniversary of the National Park Service with choreographed visuals
PINES OF ROME Sat., Apr. 22, 7:30 PM Macky Auditorium
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VERDI Overture to Nabucco PUCCINI The
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Music sounds better when you know more . Listen, study, enjoy—with CPR Classical.
“Music Forward” Saturdays at 7 p.m. on CPR Classical Explore music of the past century through musician interviews and discussion of Colorado’s contemporary performances.
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Photo: The Great Green, by Joanna Rotkin, Joanna and the Agitators joannaandtheagitators.com Selected As
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Program String Quartet No. 6 in B Flat Major, Op. 18 No. 6 Allegro con brio Adagio ma non troppo Scherzo: Allegro La Malinconia: Adagio - Allegretto quasi allegro
Ludwig van Beethoven
Three Romances for violin and piano, Op. 22 Andante molto Allegretto Leidenschaftlich schnell Edward Dusinberre, violin Alexandra Nguyen, piano
Clara Schumann
Chanson perpétuelle for soprano, piano and string quartet, Op. 37 Jennifer Bird, soprano Alexandra Nguyen, piano
Ernest Chausson
Intermission Piano Quintet in A Major, D. 667 “Trout” Allegro vivace Andante Scherzo: Presto Andantino — Allegretto Finale: Allegro giusto David Korevaar, piano Paul Erhard, double bass
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Franz Schubert
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TA K Á C S Q U A R T E T — A p r i l 3 0 - M a y 1 , 2 0 1 7
Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello
Program Notes
TA K Á C S Q U A R T E T — A p r i l 3 0 - M a y 1 , 2 0 1 7
String Quartet No. 6 in B Flat Major, Op. 18 No. 6 Tonight’s program offers works by composers hugely affected by their surroundings: Chausson, searching for direction in the ever-changing cultural scenery of late 19th century Paris; Clara Schumann, finding precious moments to write, while juggling the demands of a stressful household and a busy concert career; Schubert, creating a chamber masterpiece while gathering with friends and soaking in the “inconceivably lovely” town of Steyr. Environment is everything for an artist—even Beethoven. Later to be locked away from the world by his deafness and intense loneliness, he could not ignore the stimulating sights and sounds of Vienna in his early years of discovery. Newly settled in that vibrant musical capital in 1792 and preparing to make a splash, he became a sponge, soaking it all up. Intrigued by the still-young genre of the string quartet, Beethoven studied and copied out several examples by its founders, Mozart and Haydn. Intent on entering Vienna’s musical milieu, he soon befriended the city’s finest players and earned the favor of those wealthy patrons who would encourage and finance his growing career. Six years after his arrival, he felt confident enough to begin sketching his first set of six quartets. It took two more years before they were sent off for publication, with a dedication to Prince
Three Romances, Op. 22
Joseph Lobkowitz, Vienna’s most prominent patron. In these half-dozen works, we hear the influence of the genre’s early masters, but we also discover Beethoven’s mature voice beginning to emerge. In the B Flat Quartet, the last of the published six (though it was the fifth to be completed), there is the unmistakable touch of Mozart and Haydn in the nonstop opening Allegro, so perfectly compact in its textbook adherence to sonata form. We’re presented with two contrasting themes and some upward scales that separate the two, which are treated skillfully in the playful development, before an amusing buildup leads us back to the start. Haydn would be impressed, though he’d likely be puzzled by the otherworldly complexities of the final movement, which begins with a remarkable, forward-looking extended introduction marked “La Malinconia” (Melancholy). Here is an unexpected glimpse into Beethoven two decades down the road. With its subtly shifting harmonies (instructed by the composer to be played “with the greatest delicacy”), and its alternating episodes of gaiety and sullen introspection, this music seems like an open door, liberating the composer from the structured world of Vienna in that pivotal year of 1800.
Clara Schumann
A devoted wife to her famous, high-maintenance composer husband Robert, Clara Schumann was also a busy mother to a houseful of children, as well as one of the 19th century’s greatest concert pianists. Still, she found time to write music. Bearing in mind that women in those days were discouraged from composing, not to mention Clara’s obvious problem of competing with that other music-maker in the Schumann home, it’s no wonder that she felt conflicted, confessing, “I once believed that I possessed creative talent, but I have given up this idea. A woman must not desire to compose— there has never yet been one able to do it. Should I expect to be the one?” But on the other hand comes this admission: “Composing gives me great pleasure … There is nothing that surpasses the joy of creation…” Though overshadowed back then by her husband’s glorious output, today Clara’s collected works, mostly chamber pieces, are performed with welcome regularity. Her father, Friedrich Wieck, had trained her from an early age to become a brilliant pianist, but he also instructed and encouraged her in composing. This was years before she met Robert, one of the elder Wieck’s students. Once married, the Schumanns lived in a
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Ludwig van Beethoven
small house that was dominated by Robert’s intense need for quiet when he worked. Between keeping the kids in line and practicing for her next concert tour, Clara could write music only in scattered bursts, and ever so quietly, so as not to disturb him. At age 34, with a full lifetime still ahead, she stopped composing to care for her increasingly ill husband and her growing brood of children—and to continue a hectic concert schedule. In 1853, three years before Robert died in an asylum, she wrote her final works, including three romances for violin and piano—music dedicated to the great violinist and family friend Joseph Joachim. The two happily performed these miniatures on tour, and Joachim was so enamored of them that he continued to program the romances when concertizing without Clara. There is a gentle sweetness presented here, along with an impressive lyrical gift. Midway through the second of the three, the violin’s birdlike trills and amusing flitting about suggest a joyful dance of spring. Sprawling piano arpeggios in the outer sections of the last romance sweep with unbridled passion, accompanying a fine violin melody.
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Program Notes Chanson perpétuelle for soprano, piano and string quartet, Op. 37
can now be seen as an important bridge between Franck’s lush romanticism and Debussy’s airy impressionism. Alas, tragedy would intrude: While riding his bicycle down a steep country road, Chausson hit a brick wall and was instantly killed. His total output numbered only 39 works, the exquisite, intensely passionate Chanson perpétuelle (1898) being his final completed piece. Utilizing all but the last two verses of Cros’ nocturne from Le Coffret de Santal (The Sandalwood Chest), Chausson wrote one setting for soprano with piano quintet and another with orchestra. The text describes the lament of a young woman who, deserted by her lover, prepares to drown herself. This poignant music communicates her sorrow and captures the trembling of leaves and whispering of the winds. In the poem’s final verse, not used by the composer, she gives hope that her last breath will be sent off like a butterfly, “and, by roses in May, be attracted to the lips of my dearly beloved.”
Piano Quintet in A Major, D. 667 “Trout” Few works in the chamber music canon are as congenial as this quintet. Its melodies seem to suggest a relaxed atmosphere of friendship, spirited conversation and maybe a few beers to spice things up. In fact, this is precisely the setting for the “Trout’s” creation. In 1819, Schubert and some pals traveled to the relaxing country town of Steyr, 90 miles west of Vienna, where they’d vacationed over several summers. As usual, the imposing baritone Johann Michael Vogl was part of the entourage. It was Vogl who had encouraged and first performed many of Schubert’s songs, including the charming little ditty about a fisherman’s underhanded attempts to capture a trout. Die Forelle, penned two years earlier, had captured the fancy of Steyr’s reigning patron of music, Sylvester Paumgartner, who commissioned the composer to write a chamber work that might include some variations on his favorite song. Paumgartner was a wealthy merchant (and amateur cellist) who often hosted musicales in his lavish home. As an added request, he asked that the instrumentation mirror another of his favorite pieces, a quintet by the respected composer Johann Nepomuk Hummel, calling for piano, violin, viola, cello and, oddly, double bass. And so Schubert
Franz Schubert began to write, no doubt encouraged by his patron and his fun-loving friends—and perhaps the flirtatious smiles of the eight young girls staying in the rental house (“nearly all of them pretty,” according to the composer). Schubert crafted music with a spirit of good fun, completing it that autumn on his return to Vienna. Certainly unusual in its combination of instruments, the so-called “Trout” Quintet also strays from convention with its five movements, rather than the typical four. As for those requested song variations, they appear in the fourth movement, displaying the composer’s unending gift for melodic transformation. The watery bubbles heard in the original piano accompaniment to Die Forelle are previewed in the ascending keyboard arpeggios of the opening Allegro. This was happy music from a happy time for Schubert. A few years later, he would contract syphilis, leading to a life marked by poor health and the Viennese public’s indifference. It’s such a pity that this instantly enjoyable work all but disappeared during the composer’s life. In fact, the completed manuscript vanished—only the individual parts survived, published ten years after Schubert’s death.
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TA K Á C S Q U A R T E T — A p r i l 3 0 - M a y 1 , 2 0 1 7
Chausson seemed to have everything going for him in his formative years. The son of a wealthy and successful building contractor who’d played a key role in the redevelopment of Paris in the 1850s, the young man was given a rich education and an exposure to all of the arts. Despite his father’s insistence that he stick to law studies, Ernest felt drawn to music, and to composition in particular. Quietly, he honed his craft, struggling for success in the early goings. He’d studied at the Paris Conservatory with Jules Massenet and César Franck, and his youthful works show his teachers’ influence. Wagner’s operas and the writings of Charles Cros and other symbolist poets in late 19th century Paris also seeped into his music. The composer seemed to finally find his voice in 1897, when his Symphony and Poème (written for violinist Eugène Ysaÿe) were well received. Other confident pieces soon followed, including chamber works, songs and song cycles. His compositions appeared to be moving in a new direction and
Ernest Chausson
Texts & Translations Chanson perpétuelle for soprano, piano and string quartet, Op. 37 Bois frissonnants, ciel étoilé
Quivering woods, starry sky
Vents, que vos plaintives rumeurs, Que vos chants, rossignols charmeurs, Aillent lui dire que je meurs!
Winds, may your plaintive noises, charming nightingales, may your songs go to tell him I’m dying!
Le premier soir qu’il vint ici Mon âme fut à sa merci. De fierté je n’eus plus souci.
From the first evening he came here my soul was at his mercy. I no longer cared about pride.
Mes regards étaient pleins d’aveux. Il me prit dans ses bras nerveux Et me baisa près des cheveux.
My eyes kept telling him my thoughts. He took me in his nervous arms and kissed my head close to my hair.
J’en eus un grand frémissement; Et puis, je ne sais plus comment Il est devenu mon amant.
That caused me a great trembling; and then, I no longer know how, he became my lover.
Et, bien qu’il me fût inconnu, Je l’ai pressé sur mon sein nu Quand dans ma chambre il est venu.
And although he was unknown to me, I clasped him against my naked breast when he came into my bedroom.
Je lui disais: « Tu m’aimeras Aussi longtemps que tu pourras! » Je ne dormais bien qu’en ses bras.
I kept saying: “You will love me for as long as you are able!” I would sleep well only in his arms.
Mais lui, sentant son cœur éteint, S’en est allé l’autre matin, Sans moi, dans un pays lointain.
But he, feeling his heart grown cold, departed some mornings ago, without me, for a distant land.
Puisque je n’ai plus mon ami, Je mourrai dans l’étang, parmi Les fleurs, sous le flot endormi.
Since I have my lover no longer I will die in the pond, among the flowers, under the sleeping water.
Au bruit du feuillage et des eaux, Je dirai ma peine aux oiseaux Et j’écarterai les roseaux.
Amid the noise of foliage and stream I will tell the birds of my sorrow and will cause the reeds to part.
Sur le bord arrêtée, au vent Je dirai son nom, en rêvant Que là je l’attendis souvent.
Pausing on the edge, I will speak his name to the wind, while dreaming that I often awaited him there.
Et comme en un linceul doré, Dans mes cheveux défaits, au gré Du [flot]1 je m’abandonnerai.
And as if in a golden shroud, with my hair undone, I will let myself go wherever the [current]1 takes me.
Les bonheurs passés verseront Leur douce lueur sur mon front; Et les joncs verts m’enlaceront.
The happy times I have known will shed their gentle light on my forehead; and the green reeds will entwine me.
Et mon sein croira, frémissant Sous l’enlacement caressant, Subir l’étreinte de l’absent.
And my breast will believe, as it trembles caressed and entwined, that the absent one is embracing me.
Bois frissonnants, ciel étoilé, Mon bien-aimé s’en est allé, Emportant mon cœur désolé!
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Ernest Chausson
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Quivering woods, starry sky, my beloved has gone away taking with him my desolate heart!
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During the 2016-2017 season, the ensemble will perform complete six-concert Beethoven quartet cycles in London’s Wigmore Hall, at Princeton University, at the University of Michigan and at UC Berkeley. European engagements in 2016-17 include Florence, Milan, Geneva, Amsterdam and Paris. They will present concerts in Singapore, Japan and Hong Kong and will also tour New Zealand and Australia. The Takács became the first string quartet to win the Wigmore Hall Medal in May 2014. The Medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall. Appointed in 2012 as the first-ever Associate Artists at Wigmore, the Takács present six concerts every season there. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. In 2006 the Takács Quartet made their first recording for Hyperion Records, of Schubert’s D804 and D810. Since then, they have earned two Grammy nominations and
The Takács Quartet
recorded works by Brahms, Schumann, Haydn, Schubert, Shostakovich, Britten and Janáček. Their most recent release is of the Debussy Quartet and the Franck Piano Quintet with Marc-André Hamelin. The Quartet’s awardwinning recordings include the complete Beethoven Cycle on the Decca label. In 2005 the Late Beethoven Quartets won Disc of the Year and Chamber Award from BBC Music Magazine, a Gramophone Award, Album of the Year at the Brit Awards and a Japanese Record Academy Award. Their recordings of the early and middle Beethoven quartets collected a Grammy, another Gramophone Award, a Chamber Music of America Award and two further awards from the Japanese Recording Academy. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder and play on instruments generously loaned to them by the Shwayder Foundation. Visit us on Facebook at www.facebook.com/takacsquartet.
Biographies David Korevaar, whose playing has been called a “musical epiphany” by Gramophone Magazine, performs an extensive repertoire as a soloist and chamber musician around the U.S. and internationally. In addition to his teaching at CU, where he has been named Distinguished Research Lecturer (2016), he is a regular participant as performer and teacher at Colorado’s Music in the Mountains summer festival and continues to teach and perform regularly in Japan under the auspices of The Music Center Japan. In Fall 2016, he made his first tour to Brazil, performing and teaching around the country. Korevaar’s extensive discography includes numerous solo and chamber music recordings. Recent releases include a disc of chamber works by Tibor Harsányi with Charles Wetherbee (Naxos), a Chopin recital (MSR), Hindemith’s three Piano Sonatas and “1922” Suite (MSR) and two Schubert Sonatas (MSR). In addition, his collaboration with members of the Takács Quartet has resulted in a number of releases, including a disc of Brahms with violist Geraldine Walther and cellist András Fejér (MSR), two Beethoven violin sonatas with violinist Edward Dusinberre (Decca), and Hindemith’s music for viola and piano with Geraldine Walther (MSR). In addition to his performing activities, Korevaar writes on various musical topics, with a focus on French music. A native of Montréal, Alexandra Nguyen maintains a diverse career as a collaborative pianist, teacher and arts administrator. She is an accomplished pianist who has appeared throughout the United States and Canada, including performances at Weill Hall at Carnegie Hall (New York), the Strings Music Festival (Steamboat Springs), the Societé Pro Musica Chamber Music Series (Montréal, Canada) and the Asociación Nacional de Conciertos at Teatro Nacional (Panama City, Panama); recent performances include concerts with baritone Patrick Mason as well as bassoonist Peter Kolkay, a long-standing collaboration. She has been an invited speaker at the National Association of Schools of Music Annual Meeting, the College Music Society Annual Conference, the Music Teachers National Association National Convention and the National Conference on Keyboard Pedagogy. As associate professor of collaborative piano at the University of Colorado at Boulder, Dr. Nguyen co-directs the graduate programs in collaborative piano and coordinates accompanying services at the College of Music. She was the founder and director of the summer institute Plays Well With Others at the Eastman School of Music, where she has been affiliated with the Eastman International Young Artists Piano Competition for more than a decade. Paul Erhard is professor of double bass at the CU College of Music in Boulder, where he has taught since 1986. Paul performs as a soloist, teaches throughout the U.S. and Europe and has recently performed the Nino Rota Divertimento
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The Takács Quartet, now entering its 42nd season, is renowned for the vitality of its interpretations. The New York Times recently lauded the ensemble for “revealing the familiar as unfamiliar, making the most traditional of works feel radical once more,” and the Financial Times described a recent concert at 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 attention to detail: neither a note nor a bow-hair is out of place.”
TA K Á C S Q U A R T E T — A p r i l 3 0 - M a y 1 , 2 0 1 7
Biographies Concertante double bass concerto with the Boulder Symphony, Grand Junction Symphony, Whatcom Symphony (Bellingham, Washington) and the Longmont Symphony. Paul is principal double bass of the Boulder Bach Festival and the Pro Musica Colorado Chamber Orchestra. Prior to Colorado, Paul was principal double bass of the Soviet Émigré Orchestra and the Albany Symphony in New York. A judge at many prestigious double bass competitions in the U.S. and Europe, Paul is a jury member for the 2017 International Double Bass Solo Competition in Markneukirchen, Germany. Paul is the founder and director of the Rocky Mountain Double Bass Festival. The 14th festival in October 2016 brought together 100 double bassists, from fourth graders to professionals. To broaden performance opportunities for the double bass, Paul has been pioneering playing the double bass in the genre of Indian classical music. As a 2013-2015 Fulbright scholar, Paul’s research project, “Training the Musical Mind,” involved interviews with 35 of India’s most eminent Carnatic and Hindustani classical vocalists and instrumentalists. His feature article “Improving Intonation with Indian Tambura Drones” in the February 2014 American String Teachers Association Journal outlines a systematic pedagogical approach for using Indian tambura drones to help string players play better in tune. Paul performs with his sons Jeffrey, vocalist/harmonium/ percussion, and Robert, cellist in the “Indo-Western Fusion with a Twist of Jazz” trio Sands Around Infinity. Paul received his bachelor’s degree in music from Eastman School of Music as a student of James VanDemark his and master’s and doctoral degrees from Juilliard as a student of Homer Mensch.
Audience Spotlight We have greatly enjoyed receiving your responses to the questionnaire and will continue to print them in the spring programs. For those of you who would still like to participate, please send your answers to: edward.dusinberre@colorado.edu.
Randi Stroh
I have lived in Boulder since 1973, and I have been a Takács season subscriber since the quartet started in residence at the College of Music. I plan my year’s schedule around these concerts and have rarely missed one. My interest in chamber music began as a child. My father played classical music on 33s at dinner most nights. My mother was a subscriber to the New York Philharmonic—I was born in New York City and grew up in the suburbs. She would also occasionally take me to concerts at Carnegie Hall, which is still my favorite place to hear classical music. We watched Leonard Bernstein’s “Young People’s Concerts” regularly on TV. I started piano lessons when I was five. Music has always been in my life and has been an essential part of it. I have played piano consistently all along and otherwise studied music in some way. I moved to Boulder in part to attend the College of Music, and I received two degrees—a Bachelor of Music in 1975 and a Master of Music in 1982. I also have a clavichord and a spinet virginal, but most of my performance has been on piano. I have done both solo and chamber work in Boulder and elsewhere. I have also been a member of several arts organizations and arts related Boards. Some of my favorites, for piano: Beethoven, Op. 110—for me it is about the ability of the human spirit to rise from the depths of despair. Mozart, K. 310—such maturity for a 22-year-old, beautiful composition, an exquisitely complex slow movement, such range of emotion in the sonata. Chopin, the entirety of his piano works. I believe he is the greatest composer ever for the piano, because he composed in a way that maximized the potential of the sonorities the instrument can create. And because, even though it is often very difficult, it is always beautiful in the hands. Other composers in the classical world: I tend to rotate my favorites, because I keep expanding my knowledge and my ears. Sometimes Schubert is in the top five. Sometimes Bach. Sometimes Haydn. Usually Shostakovitch and Messiaen. Currently, Michael Praetorius. I am educating myself about opera because that was not part of my earlier training, and I have become a real fan. Everything in my life is better when I am doing enough music. I fully intend to stay on this path and to continue sharing in the wonders and lessons that music can create.
Kit Van Winkle
I moved to Boulder four year ago after 45 years in Norwich, Vermont, across the Connecticut River from Hanover, New Hampshire. I have followed the Takács from their early years, in performances at Dartmouth College and Middlebury College. My mother was a professional violinist and I grew up hearing her play and perform, particularly string quartets. I am a classical pianist and am privileged to play chamber music, primarily with strings (sonatas, piano trios, piano quartets and piano quintets). For 25 years I have attended chamber music workshops, where I also play and perform with winds. When I first moved to Boulder, my neighbor offered me her extra season ticket to the Takács Encore Series. Our special friendship developed over the course of several Takács seasons. Sadly, she died in June, and the Aug. 29 concert was bittersweet for me. I was moved by your performance of the Cavatina from Beethoven Op. 130, which felt a hymn to my friend. I love the Beethoven string quartets, having studied them in college in anticipation of a residency by the Guarneri String Quartet during their very first season. What a thrill to hear these performed live by the Takács! Other favorites are the Schubert “Trout” Quintet, Brahms Requiem, and any music I am currently studying (today it is the Beethoven Cello Sonata No. 5 and Brahms Piano Trio Op. 8).
Janet Brewer
I moved to Boulder in September 2012, after a 42-year residency in the state of Florida. I had grown up in Colorado (on the Front Range), but I left for my first job after graduating from college. I returned because it was possible and I missed the mountains. Two weeks after arriving here, I attended a Takács Quartet concert. I obtained entry to your sold-out Sunday
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Pete Baston
The most fun in music I ever had in 40 years of singing was participating in a barbershop chorus on the banks of Zimbabwe’s Zambesi River, just down the road from Victoria Falls, or Mosi-oa-Tunya (The Smoke That Thunders). The audience was eclectic, ranging from serious participants there for the singing to curious tourists to members of the Ndebele tribe (many of whom wondered who had died and was being mourned with the strange wailing). Brian Phelps, one of my fellow bass singers, had a weird habit of always wearing patent leather shoes that gleamed, with white socks and khaki shorts that showed off his knobbly knees, for singing. Beaten veldskoens (bush boots) or takkies (sneakers) were fine for the rest of the year, but when the chorus piped up, on came the black gleamers. Brian had another musical habit, the violin. He also played bagpipes for his heritage, but the wood and strings were his favorite—again accompanied by his gleaming footwear tapping away to the beat. The bass from Mosi-oa-Tunya vibrates from 170 million gallons a minute with a rain-mist wall stretching up to 2,000 feet, and when the wind is wrong even the most fanatical barbershop musician group is smaller than a speck of dust. At those times our group met at either Robins camp or Sinamatella in the Hwange Game Reserve. The latter was our favorite, as part of the audience at the water hole were herds of elephants, and when we reached peak performance, many times with our Ndebele throat singers stamping in unison and driving the chorus, the herd would reply with waves of belly rumbles—and not even our wise conductor could top that ensemble. Music in its many forms is important in our lives because it brings light and joy to our souls and even in the most miserable dim weather. So as I sit with my beautiful wife in the front seats by the gangway on Ed’s right, eye level with his feet, and he strides out with Karcsi, Geri, and András, it’s a real thrill when he is wearing the gleamers as I shut my eyes and am immediately transported thousands of miles to a land and time far away.
Jon Raese and Family
I have lived in Boulder for nearly 50 years. A job offer from Ball Aerospace resulted in my family moving here after my discharge from the U.S. Air Force. I have been attending Takács concerts from the earliest days of the quartet taking up residence at CU Boulder. My wife and I took our three children to hear Takács play in the lobby at NCAR and in the old auditorium at the main library. These free concerts engaged the local townspeople and whetted our appetites for chamber music. We have been Takács season ticket holders for about the last 25 years. My wife and I have always loved chamber music. I regularly attended concerts when I was an undergraduate student at West Virginia University in the late 1950s. My older sister took piano lessons when I was growing up in Morgantown, West Virginia, and was a major influence on my taste in music. All three of our children used the Suzuki Method for piano lessons, including my wife Reiko, who attended with them. My own musical training progressed from the triangle in kindergarten, saxophone in fifth grade (band director said something about how my lips and mouth fit the reed instrument), violin in middle school on my father’s instrument, and piano lessons one summer after being inspired by Carmen Cavalarro, who played for the soundtrack in The Eddie Duchin Story. Throughout this eclectic musical background, choir practice at church and school enriched my repertoire but did little to develop my talent or aptitude. It is difficult to single out any one composer. I favor music from the Baroque period to the Classical and the Romantic.
Charles Proudfit
Since joining CU’s English department in 1966, it has been my good fortune over the past 51 years to hear wonderful chamber music played by the Hungarian Quartet, the New Hungarian Quartet and the Takács Quartet. I would like to share two memories from the past. When the quartet first arrived, a dear colleague and friend, Professor Larry Senesh (also Hungarian and a veteran of World War II) and his wife Dorothy invited us to meet and hear the quartet play at their home on a Sunday afternoon. Their wives and small children were present, a first, I recall, for the children, who didn’t seem to be into the music. I also recall someone asking my wife and myself if we could recommend someone to help the spouses with their English. Several years later at a party, I listened to Denes Koromzay, former violist with the first two Hungarian Quartets and the one responsible for bringing the Takács to CU, go on at great length about the hard work involved in making recordings: the repeats, the long hours and so on. He was concerned that the members of the quartet either were not ready for the rigors or that they were taking it too lightly. I can see and hear him now, even after all these years. I, along with other old timers, have seen members change and names change, and over the last 42 years I have observed the exceptional growth of musicianship and international fame of the Takács Quartet.
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TA K Á C S Q U A R T E T — A p r i l 3 0 - M a y 1 , 2 0 1 7
series by arriving an hour early and asking at the box office if anyone had turned in unused tickets. I was seated next to a friendly woman who seemed to know many people. At some point, I shared with her that I was “new” in Boulder, and she looked me in the eye and stated, “Well, I can help you get connected!” It was Boyce Sher. She invited me to join the University Women’s Club and introduced me to several of her friends during intermission. That season I attended many of your concerts. I lucked into a subscription ticket to the Sunday series beginning in the 2013-14 season. While living in Melbourne, Florida, in the 1980s, my husband and I supported the founding of the Melbourne Chamber Music Society, Inc. I enjoy a continuing friendship with individuals who are still active in that organization. I am a classically-trained soprano. Favorite pieces of music include “Nimrod” from Elgar’s Enigma Variations; Barber’s Adagio for Strings; Brahms’ Fourth Symphony, and Rachmaninoff’s Rhapsody on a Theme of Paganini. I associate Grieg’s Piano Concerto with my mother, who was an accomplished pianist. (I remember her practicing this when I was a child.) When I attend a concert I expect art rather than “entertainment.” Quoting from a welcome address given by Karl Paulnack to parents of entering students at The Boston Conservatory, “...Art is part of survival; art is part of the human spirit, an unquenchable expression of who we are.” He goes on to say, “Music is one of the ways we make sense of our lives, one of the ways in which we express feelings when we have no words, a way for us to understand things with our hearts when we can’t with our minds.”
MOZART’S REQUIEM TA K Á C S Q U A R T E T — A p r i l 3 0 - M a y 1 , 2 0 1 7
Tuesday, May 2 at 7:30 p.m. ● Macky Auditorium Featuring the CU Symphony Orchestra and CU Choirs Free and open to the public
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Ars Nova Singers Our 31st Season 2016-2017 In Concert at The Dairy, with Frequent Flyers
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WE MENDED A FAILING
HEART ALIVE
AND KEPT THEIR ROMANCE
Inspire/Respire: Music in the Air – Nov 18, 19, 20 A Colorado Holiday Tradition
Christmas with Ars Nova – December 9, 10, 11 Music of the Renaissance
Voices & Viols – February 25, 26 Rachmaninoff’s “Other” Masterpiece
Liturgy of St. John Chrysostom – April 28 & 29 tickets/info:
www.arsnovasingers.org
When you have that newlywed glow, everything seems rosy. So when Jean Richter started feeling short of breath, she wasn’t initially concerned. But then her symptoms worsened and her beloved husband, Dave, had to rush her to the Foothills Hospital Emergency Department. Jean was diagnosed with heart failure, a chronic condition that has a 50% survival rate within five years of diagnosis if not treated correctly. Luckily for Jean, Boulder Community Health recently opened the first specialized Heart Failure Clinic in Boulder County. Dr. Scott Blois’s expertise with the latest treatment options set Jean on a remarkable journey back to a full active life. “I have a wonderful husband, five incredible daughters and 13 grandkids I adore,” says Jean. “I’m so happy we can hike, travel and have fun together again.” Read Jean’s story at bch.org/healinghearts or call 303-442-2395 for information about Boulder County’s first Heart Failure Clinic.
Boulder Heart Anderson Medical Center 4743 Arapahoe Ave., Suite 200 in Boulder Medicare accepted
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A mutual admiration society Aspiring artists, remember this: A well-rounded education never hurt anyone. That’s what Bud Coleman learned when he tore his hamstring muscle after a stint with the prestigious Ballets Trockadero de Monte Carlo. If dance had been the only skill on his resume, it could have been a career-ending disaster. Luckily, the theatre arts graduate had a lot more knowledge up his sleeve. “Through a series of introductions, I was hired into the wardrobe department of New York City Opera,” he says. It was the perfect place for a theatre man; in keeping with its mandate to be the “people’s opera,” NYCO had just expanded its repertoire to include musical theatre. Coleman, who today serves as chair of Theatre & Dance at CU Boulder, can dance, sing, act, direct, perform in drag and think outside the box on command. So it’s no wonder that he and the Eklund Opera Program have reached across the aisle for countless collaborations.
These days, Coleman is grateful for his crossover training: It means he can work with all kinds of artists, from theatre students to dancers to Colorado Shakespeare Festival directors to singers involved in CU’s New Opera Workshop Composer Fellows’ Initiative, which Coleman staged and directed in 2015. Mueller lauds Coleman’s work with CU NOW and emphasizes just how much effort, creativity and vision it must have taken to direct the project. “He had to do all the legwork to come up with concepts and designs and build the characters,” he says. “These pieces didn’t exist before he put them on their feet, so he couldn’t just Google what someone else did—there’s no cheating. “On top of all that,” Mueller adds, “He’s just the nicest man you could ever know.” Red Hot and Cole: April 27-30, Music Theatre | tickets start at $20
Over the last few years, Coleman has danced a mean high-heeled tango in “Die Fledermaus”; he’s directed stagings of student opera scenes for the Composer Fellows’ Initiative; and he’s even set to direct Eklund Opera’s “Red Hot and Cole,” a salute to Cole Porter, this spring. “Having him as a resource just down the street in Theatre & Dance not only to take on a role but to dive into a production headfirst is a plus for the opera program,” says Ron Mueller, interim director of Eklund Opera. “He leads by example for the students, putting his all into every production.” Coleman says he learned to be a Renaissance man out of necessity. In the late 20th century, Broadway directors began to demand that auditionees for new musicals such as “Song and Dance,” “The Phantom of the Opera” and “South Pacific” come with experience in acting, singing and dancing. “In many ways, Jerome Robbins, Leonard Bernstein, Stephen Sondheim and Arthur Laurents changed the landscape in 1957 with ‘West Side Story,’ where there were no separate dance or singing ensembles,” Coleman says. “Everyone had to do everything; you had to be a triple-threat performer.”
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Bud Coleman as Frosch in 'Die Fledermaus'
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CU NOW: Leading a new wave of opera This summer, Eklund Opera’s trailblazing new works program—CU New Opera Workshop, or CU NOW— pulls out all the proverbial stops in its latest quest to bring what’s fresh and exciting about opera to the campus of CU Boulder. Since CU NOW’s founding in 2010, the likes of Opera Colorado’s Lori Laitman, composer Libby Larsen and titans Jake Heggie and Gene Scheer have called this three-week workshop home. This year is no different. Continuing the momentum of 2016’s workshopping of Heggie and Scheer’s “It’s a Wonderful Life,” CU NOW 2017 will host composer Mark Adamo and a revision of his opera “The Gospel of Mary Magdalene,” which already had its premiere in San Francisco. “CU NOW allows the composer to not just workshop a new piece but also rework it,” says Jeremy Reger, music director. “Because Mark has such strong feelings for this piece, he’s reworking it using CU NOW as his forum.” Ron Mueller, Eklund Opera technical director and interim program director as Leigh Holman takes a sabbatical, says CU NOW’s mission has always been to expose students and audiences to the cutting edge of an artform so defined by its history. “We also want to create an avenue to give composers a place to try out works in progress. Our slogan from the
first year was, ‘Bringing opera from score to floor.’” The other arm of CU NOW, the Composer Fellows’ Initiative, ventures into new territory for 2017 as well. CFI connects composition students with singers and opera professionals to perfect scenes they’ve written. New for this year, CFI partners with the CU Film Studies department to develop film footage to accompany the scenes. “Projection use in opera production is a brand new field that is enjoying lots of innovation and experimentation,” says Daniel Kellogg, associate professor of composition. “We’re all excited to see what [these filmmakers] come up with.” Exploration and innovation don’t just define CU NOW. They’re ideas that run through the fabric of Eklund Opera. Says Reger, “Many colleges and opera companies are just jumping on this exciting bandwagon of new opera, but [Eklund Opera director] Leigh Holman’s insight into this progressive movement established Boulder as an exciting forefront for new opera.” The Gospel of Mary Magdalene: June 16 & 18, Music Theatre | free Composer Fellows’ Initiative Showcase: June 17, ATLAS Black Box Theater | free
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Proudly Supports CU’s Performing Arts. Join us Palm Sunday, April 9, 9:30 a.m. for an outdoor procession with a live donkey leading all children and adults into the church. All are welcome! Then, celebrate Easter, April 16, at 8 or 10 a.m. and an Easter egg hunt at 11:30. Regular Sunday Services 8 and 10 a.m. and 6 p.m. CU Student Dinner 6 p.m. every Tuesday.
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Artist Series 80th Anniversary
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.
Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan
John Davis Diane Dunn Mike Gallucci
Benefactor
Mark and Margaret Carson Diane and Richard Dunn Paul Bechtner Foundation Greg Silvus
Sponsor
Gil and Nancy Berman Mary Lamy Louise Pearson and Grant Couch Ellen and Joshua Taxman
Patron
Anonymous Janet Ackermann and Scott Wiesner Joan McLean Braun Chris and Barbara Christoffersen Daryl and Kay James Ruth Carmel Kahn Janet and Scott Martin John and Maggie McKune Antoinette and Douglas Shaller Daniel and Boyce Sher
Artist Series Advisory Board Lissy Garrison Laima Haley Daryl James, President
Maryan K. Jaross Ruth Kahn Jerry Orten
Martha Coffin Evans and Robert Trembly II Carol and Michael Gallucci Harold and Joan Leinbach Eric Lewis and Karmen Rossi Heidi and Jerry Lynch Robert and Sandra McCalmon Judy and Alan Megibow Tiffany Myers and J. M. Steffan Knapp Jerry and Jamie Orten Patricia and Brian Ratner Cedric Reverand Mikhy and Michael Ritter Theodore and Ruth Smith Douglas and Avlona Taylor Evelyn Taylor Lawrence and Ann Brennan Thomas
Contributor
Dean and Ellen Boal Norma Ekstrand and Tom Campbell Robert Hammond and Ranelle Lang Tara Kelly Gregory and Gladeane Lefferdink Susan and Jon Lounsbury John Mantey and Erma Mantey Gary and Beth Rauch Alicia and Juan Rodriguez Elmer Altschuler and Melisse Perre-Altschuler Paul and Luana Rubin Alan and Stephanie Rudy Center Copy Boulder, Inc. Lawrence Cohn
Supporter
Louise Pearson Erika Randall Robert Shay
Member
Anonymous Shirley Carnahan Noel A. and Pauline A. Clark Douglas and Rita Dart Robbie Dunlap Merrill and Leslie 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 Hunter and Janet McDaniel Gail and Julie Mock Jacqueline Muller Irwin and Barbara Neulight Margaret Reagor Becky Roser and Ron Stewart Randall Kenneth Rutsch Courtland and Carolyn Spicer Zoe Stivers Lloyd Timblin Jr. Geoffrey Tyndall Heather Van Dusen Jack and Sophie Walker
Corporate Sponsors
Roser Visiting Artist Fund
In-kind Sponsors
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Gregory Silvus Ellen Taxman Nicholas Vocatura
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SAT. APRIL 22 • 6 PM
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at c h au tau q ua i n b o u l d e r
2017 CONCERT SEASON | JUNE 29 -AUGUST 4
Worshipping • Exploring spirituality weekly in worship, with our Theologian-in-Residence program, Together and on our beautiful indoor labyrinth. Supporting Supporting the arts with our ensembles-inthe Arts • residence, art exhibits in the Sanctuary Gallery, and Arts for Kids’ Souls summer camp. Welcoming EVERYONE • Working for social justice and equality for all.
90 musicians from around the globe/6 weeks/23 concerts/ 36 composers/24 season superstars/Find your Ode to JOY! ON SALE NOW | 24/7 at coloradomusicfestival.org Mon-Fri,12pm-5pm: 303.440.7666 | In person at the Chautauqua Box Office (900 Baseline Rd., Boulder)
JOIN US FOR SUNDAY WORSHIP AT 10:30 AM Rev. Matthias Krier, Pastor
CHURCH Loving God by loving others
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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 Takács 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 Christopher and Margot Brauchli Patricia Butler Carolyn and Don Etter Richard Jessor and Jane Menken Robert R. Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse 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 Kathleen Sullivan Lawrence and Ann Brennan Thomas
Contributor
Lois Abbott Alison Craig and Stephen Trainor Doree and Jerry Hickman Patricia L. Johnson Harold and Joan Leinbach M. L. Sandos Bob and Lori Schuyler Helen Stone Anthony and Randi Stroh Patricia Thompson Laurie and Arthur Travers
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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 Jennifer and Bob Kamper Caryl and David Kassoy 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 Margaret Oakes Faith and Roy Peterson Julie and Wayne Phillips Antonia and Timothy Piwonka-Corle Richard Replin and Elissa Stein Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal Ruth Shanberge Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Berkley A. Tague Betty Van Zandt Chris and Leanne Walther 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 Advancement Office at 303-735-6070.
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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 Advancement 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.
Sponsor
Alan and Martha Stormo
Patron
Chris and Barbara Christoffersen Jack Finlaw and Gregory Movesian Lloyd and Mary Gelman Albert and Betsy Hand Gordon and Mitzi Ledingham Krista Marks and Brent Milne Antoinette and Douglas Shaller Ken and Ruth Wright in memory of Mayme Lacy
Supporter
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
Jim and Judy Bowers Ellen and John Gille Susan Graber Harold and Joan Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Dennis Peterson Dave and Ann Phillips Gail Promboin and Robert Burnham R. Alan and Stephanie Rudy M. L. Sandos Cynthia and Paul Schauer Carol and Randall Shinn Theodore and Ruth Smith Helen Stone Peter Wall
Grants
Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation The Schramm Foundation
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 Janet Hanley Norman Clark Lane Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Bruce Mackenzie Michael Magan Marian Matheson Byron and Catharine McCalmon Donna Meckley Kathleen and John Ness Margaret Oakes Robert and Marilyn Peltzer Kim and Richard Plumridge Juan and Alicia Rodriguez Ruth Shanberge Becky Roser and Ron Stewart Ruth Schoening JoAnn Silverstein and Nevis Cook Carol and Art Smoot Walter Taylor Gretchen Vanderwerf and Gordon Jones
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 Morgan Gallo, Social Content Creator Maureen Bailey, Communications Assistant Analise Iwanski, Graphic Design Assistant Emma Salvati and Jackson Xia, Video Producers Emily K. Harrison, Publications Specialist Heather MacDonald, Distributions Coordinator Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Elise Campbell, Taralynn Dorr, Adrienne Havelka, Megan Quilliam, Chris Ruiz, Karen Van Acker 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 Program Editor: Jill Kimball Program Layout: Emily K. Harrison
College of Music Dean's Cabinet
Robert Shay, Dean James Austin, Associate Dean for Enrollment Management and Undergraduate Studies Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Steven Bruns, Associate Dean for Graduate Studies John Davis, Associate Dean for Faculty Affairs and Operations Lissy Garrison, Assistant Dean for Advancement Alexander George, Executive Assistant to the Dean
David Mallett, Senior Director of Budget and Finance
College of Music Advisory Board Mikhy Ritter, Chair Sue Baer 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
Patron Info Accessibility and Parking
Photography and video recordings Macky Auditorium is fully wheelchair of any type are strictly prohibited accessible; ADA-accessible parking during the performance. is available nearby. Please call the Box Office as early as possible to Food is permitted in the seating areas of Macky Auditorium but is make arrangements. prohibited in other campus venues Paid parking is available in the Euclid unless otherwise noted. Avenue Autopark Lot 310 and Lot 204. Contact the Box Office or check Smoking is not permitted anywhere. the CU Presents website for more CU Boulder is a smoke-free campus! information.
Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Kathy Kuscan Erma Mantey Ben Nelson Joe Negler Susan Olenwine Tom Price Becky Roser Firuzeh Saidi Jeannie Thompson Jack Walker
CU Presents Box Office cupresents.org 303-492-8008
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. 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.
Please note that the Euclid Autopark will be closed through March due to construction.
34
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