2014–2015 Season
Be engaged. Be inspired. Be here. Global performance. World-class entertainment. You have to be here.
• The Nutcracker with full orchestra
• Stepping Out 2015 world premiere ballets
• Storybook Ballet a student performance
Photo by Sue Daniels
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20142015SEASON
• The Firebird
a family-friendly event for Mother’s Day
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• Ballet in the Park free outdoor concerts
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From the Executive Director
Contents
Dear Friends,
40 years of Mummenschanz......... 6
The beginning of autumn and the academic year is an exciting time for the performing arts at CU, with a whole year of scintillating performances lined up before us.
Calendar........................................ 8
This fall’s events range from the sublime silliness of Gilbert and Sullivan’s The Pirates of Penzance to Beyond Zero: 1914-1918, a deeply moving, multimedia commemoration of World War I performed by the Kronos Quartet, and a high-energy evening in the African American dance tradition of stepping from Step Afrika! And as always, the talented faculty and students of the College of Music will bring you an eclectic lineup of performances.
Faculty Tuesdays......................... 20
Why ‘the Great War’?.................. 12
Artist Series Donors.................... 22 Takács Donors............................. 24 CU Opera Donors........................ 28
This fall, I’m also privileged to introduce to you the new dean of the college, Robert Shay, who succeeds Daniel Sher. Rob comes to CU from the University of Missouri School of Music and has held leadership positions at such prestigious institutions as the Longy School of Music and Duke University. We’re also making some changes to our printed programs that we hope you will find engaging and entertaining. Look for featurettes and interviews with our artists, tips and tidbits from faculty experts, photo collages and more. And we’d love to hear your ideas for stories and features; you can email Clay Evans, director of communications, at clay.evans@colorado.edu.
Tips for the opera newbie............ 29 Personnel.................................... 30
Advertising Information
I look forward to seeing old friends and meeting new ones this fall at CU Presents performances and hearing your ideas. And feel free to email me any time at joan.braun@colorado.edu. Thank you so much for your continuing support of the performing arts at CU-Boulder. We truly couldn’t do it without you.
TARGETED MARKETING WITH EVERY PERFORMANCE
Warm regards,
Angie Flachman Johnson, Publisher Annette Allen, Art Director & View, the magazine of the Lone Tree Arts Center, Production Coordinator features performing arts highlights and information about the state-of-the-art facility that serves the south metro community. Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President 2013/2014 highlights
Joan McLean Braun Executive Director CU Presents
Clay Evans, CU Presents Editor South Pacific in Concert • Big River Yesterday & Today, the All-Request Beatles Tribute Target your marketing with advertising in View Magazine.
Angie Flachman, Publisher 303.428.9529 Ext. 237 angie@pub-house.com www.coloradoartspubs.com Feet Don’t Fail Me Now, A Rhythmic Circus Production
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This program is produced for CU Presents by The Publishing House, Westminster, CO.
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For advertising, please call 303.428.9529 or e-mail sales@pub-house.com ColoradoArtsPubs.com ®
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Mummenschanz: 40 years of ‘oohs’ and ‘aahs’ Mummenschanz’ back-to-basics puppetry on a blank, black stage offers simple charm and humor for audience of all ages. The visualtheater troupe has performed around the world and brings its 40th-anniversary program to Macky Auditorium on Nov. 7. Floriana Frassetto, the enthusiastic Italian-American artist who cofounded the Swiss company, answers a few questions about the company’s long success: Can you tell us a bit of history about Mummenschanz? It was founded in 1972 in Switzerland and we had our first major success at the Avignon Festival in France. We then went to Germany and the United States. … Anna Kisselgoff (of The New York Times) gave us a rave. We never thought we’d be as successful as we still currently are.
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What can you tell us about the 40th-anniversary show? This addition conveys 40 years of creation. The first 35 minutes represent what we did in the ‘70s, with the clay mask and slinky balloons. The second section represents the ‘80s to the year 2000. This section is more abstract, more sculptural. The next section starts at the year 2000 and it includes some marionette-like work. There are oohs and aahs and laughter and applause — people are surprised when the thin little (puppet) talks to you and expresses an emotion. The current show features 30 of the best sketches we’ve made.
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How do you deal with the balance of being both a creator and performer? How do you balance a marriage? You love it, you fight it, it’s constant. I’m dedicated to my work completely and I love it. I wake up at night and dream how we can improve and change something. I think now we have a very nice mix — people find it funny and playful. Mummenschanz audiences cover a wide demographic. It speaks to all ages. We recommend it for six year olds and up. It’s not so common for people to see a show that works for both children and adults, which is why ours is special. — Sarah Moore, TheaterMania.com
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2014-15 Calendar
The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky Auditorium. For detailed information and tickets, go to cupresents.org.
STEP AFRIKA!
Friday, Sept. 19, 2014, 7:30 p.m. Stepping is a percussive art form that relies on kicking, stomping, clapping and chanting, making for an energetic, dynamic performance, a delight for eyes and ears alike. Step Afrika! is the world’s first professional dance company devoted to this unique art form, a joyous celebration of the African American experience that originated at traditionally black colleges in the early 20th century and traces its roots to traditional African dance. The company will host a free public workshop in stepping from 10 to 11:30 a.m. Friday, Sept. 19 in the Charlotte York Irey Theatre in the University Theatre Building at CU-Boulder. Sponsored by Caplan & Earnest and supported by a grant from the Western States Arts Federation.
MUMMENSCHANZ
Friday, Nov. 7, 2014, 7:30 p.m. Silence, illusion, light and shadow. Masks and props made from everyday objects. Mind and body, sleight of hand. For more than four decades, the surreal Swiss theater troupe has brought myth, mystery and plenty of laughter to audiences around the world, using its unique universal language to explore the human condition.
CHRISTMAS WITH THE KING’S SINGERS
KRONOS QUARTET
Beyond Zero: 1914–1918 Wednesday, Oct. 8, 2014, 7:30 p.m. Join the world-renowned Kronos Quartet for a program that includes a commemoration on the centennial of the outbreak of “the war to end all wars.” Beyond Zero: 1914-1918, by Serbian composer Aleksandra Vrebelov musically explores the brutality that set off a century of bloody warfare and features projections of seldom-seen film from World War I. The first half of the program features music by Nicole Lizée, Yuri Boguinia and others. Supported by a grant from the Roser Visiting Artist Fund.
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Friday, Feb. 6, 2015, 7:30 p.m. Get ready for incomparable originality, a little jamming and a lot of fun when the hip, cutting-edge chamber music of Alarm Will Sound melds with the eclectic avant-jazz-funk sound of Medeski, Martin and Wood. The groove-oriented trio, a hit on the jam-band circuit pioneered by the Grateful Dead, and the versatile new-music ensemble will take you on an evening of daring collaboration and thrilling improvisation.
THE ASSAD BROTHERS WITH ROMERO LUBAMBO
THE KING’S SINGERS
KRONOS QUARTET
MEDESKI, MARTIN AND WOOD WITH ALARM WILL SOUND
Thursday, Dec. 11, 2014, 7:30 p.m. The Grammy Award-winning British male sextet arrives on the cusp of winter to perform an enchanting Christmas concert. With their unique melodic arrangements, impeccable vocal blend and trademark playfulness, the ensemble brings both wit and warmth to seasonal music, both traditional and contemporary. Sponsored by Hurdle’s Jewelers.
BILL T. JONES AND ARNIE ZANE DANCE COMPANY
Play and Play Thursday, Jan. 22, 2015, 7:30 p.m. Choreographed to some of the world’s best-loved and most seminal works of classical music— Mozart, Ravel, Schubert—and performed with live musicians, Bill T. Jones’ astonishingly original, muscular work, Play and Play, is dance like you’ve never seen it before. Winner of two Tony Awards and recipient of a MacArthur “genius” grant, Jones has continually expanded the possibilities of dance. Sponsored by James & Associates.
Thursday, Feb. 19, 2015, 7:30 p.m. Exotic Latin flair takes the stage when the Assad Brothers, Brazil’s most celebrated classical guitarists, join with jazz guitar virtuoso Romero Lubambo for Samba Exótico, an exploration of Samba and Choros, a popular 19th-century genre that blossomed in Rio de Janeiro. With its roots in Africa and unique fermentation in the coastal city of Bahia, Samba vibrates with the essence of Brazil. Sponsored by Shaw Construction and partnered by H.B. Woodsong’s.
NATALIE MERCHANT WITH THE CU SYMPHONY ORCHESTRA
Thursday, April 2, 2015, 7:30 p.m. Over her stellar 30-year career, Natalie Merchant has been the driving force behind alt-pop sensation 10,000 Maniacs and embarked on a multi-platinum solo career, always delving deep into the human condition with her lyrical storytelling. Now she brings that same searching literary sensibility and her distinctive vocal style to new heights in a performance of her music, old and new, arranged for orchestra. Sponsored by Hurdle’s Jewelers.
The Grammy Award-winning quartet—Edward Dusinberre, violin; Károly Schranz, violin; Geraldine Walther, viola; and András Fejer, cello—has been selling out concerts for three decades at CU-Boulder with an irresistible blend of viruosic technique and engaging personalities. Each season includes a concert by a special invited guest ensemble. All Takács performances take place in Grusin Music Hall. Takacsquartet.com
TAKÁCS QUARTET
Sunday, Sept. 21, 2014, 4 p.m. Monday, Sept. 22, 2014, 7:30 p.m. Program: Mozart’s String Quintet in G minor, K. 516 Beethoven’s Quartet in B-flat major, Op. 130
SPECIAL GUEST THE CAVANI STRING QUARTET
Sunday, Oct. 19, 2014, 4 p.m. Monday, Oct. 20, 2014, 7:30 p.m. Grusin Music Hall The world-famous, all-women Cavani Quartet, named after the 19th-century Italian violin makers Giovanni and Vincenzo Cavani, celebrates its 25th anniversary this year. The Cleveland Plain Dealer says, “Together, these players make music with passionate conviction, as if their lives depended on interaction.” cavani.org
TAKÁCS QUARTET
Sunday, Nov. 2, 2014, 4 p.m. Monday, Nov. 3, 2014, 7:30 p.m. Program: Mozart’s String Quartet in C major, K. 465 Debussy’s String Quartet in G minor, Op. 10 Beethoven’s String Quartet No. 2 in E minor, Op. 59
By Gilbert and Sullivan Oct. 24-26, Macky Auditorium Gilbert and Sullivan’s beloved comic operetta tells of the coming of age of Frederic, indentured to pirates as a boy, and his desire to leave the buccaneer’s life and marry beautiful Mabel. But first, he must find a way to defeat the swashbucklers he’s known and loved all his life.
COSÌ FAN TUTTE
By Wolfgang Amadeus Mozart March 13-15, Macky Auditorium Mozart’s witty opera buffa follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities make for a comic romp that was considered too hot for audiences even in the early 20th century. Featuring some of the composer’s most sumptuous arias, duets, and ensemble pieces make for a decadent and enchanting evening of opera. Sung in Italian with English surtitles.
Sunday, April 26, 2015, 4 p.m. Monday, April 27, 2015, 7:30 p.m. Program TBA
TAKÁCS QUARTET
Sunday, Jan. 25, 2015, 4 p.m. Monday, Jan. 26, 2015, 7:30 p.m. Program TBA
TAKÁCS QUARTET
Sunday, March 8, 2015, 4 p.m. Monday, March 9, 2015, 7:30 p.m. Program TBA
Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU Opera has it all. Director Leigh Holman and Music Director Nicholas Carthy showcase the talent of the future in three productions each season. Go to cupresents.org for detailed ticket information and times.
THE PIRATES OF PENZANCE
TAKÁCS QUARTET
L’INCORONAZIONE DI POPPEA (THE CORONATION OF POPPEA)
By Claudio Monteverdi April 23-26 Music Theatre, Imig Music Building Monteverdi’s drama about sex, crime and realpolitik during the debauched reign of the Roman Emperor Nero, turns conventional morality on its head—virtue is punished and greed rewarded. The sensual duet between Nero and his lover Poppea is the pièce de résistance. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.
HOLIDAY FESTIVAL
Dec. 5-7, Macky Auditorium
(see cupresents.org for detailed ticket information and times)
A lively program of seasonal music and festive holiday decorations in Macky Auditorium inspire sold-out audiences and make the Holiday Festival a beloved annual tradition. Choirs, orchestra, ensembles and faculty soloists from the CU-Boulder College of Music invite you to share the joy and warmth of the season with your family and friends.
SPRING SWING
April 12, 2 p.m., Macky Auditorium Join the CU Concert Jazz Ensemble and guest artists for a swinging return to the Big Band era. The program will feature music from the ensemble’s new recording, a tribute to the greatest bands and composers of the era, including Benny Goodman, Glenn Miller, Duke Ellington, Count Basie and more.
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Tomorrow’s talent is onstage today with a wide variety of performances from CU students and faculty. For detailed ticket and event information go to www.colorado.edu/theatredance. of Dickens’ classic holiday ghost story, complete with new lyrics to famous Broadway show tunes.
OUR TOWN BY THORNTON WILDER
Directed by Lindsay Weitkamp and Wesley Longacre Sept. 26-Oct. 5, University Theatre Wilder’s beloved, Pulitzer Prize-winning classic depicts life, love and death in the small American town of Grover’s Corners. The community’s hopes and dreams expand into questions about meaning and purpose: How does one “realize life”? How do we take advantage of the time that we have?
A BROADWAY CHRISTMAS CAROL
By Kathy Feininger, Directed by Nathan Stith Dec. 4-21, University Theatre If Charles Dickens had huddled with Rodgers and Hammerstein, Andrew Lloyd Webber, and Matt Stone and Trey Parker to write a holiday show, they just might have come up with A Broadway Christmas Carol. Simultaneously irreverent and respectful, the play offers a fresh, hilarious and charmingly recognizable retelling
TARTUFFE BY MOLIÈRE
Translated by Christopher Hampton Directed by Lynn Nichols Feb. 13-22, University Theatre French playwright Molière’s comic masterpiece skewers religious hypocrisy, mindless piety and sexual deceit was so daring at the time of its writing that audience members could be excommunicated for seeing it. Tartuffe tells how a “man of the cloth” worms his way into the gullible heart of Orgon, a rich family man, and tries to take him for all he has.
JESUS CHRIST SUPERSTAR
Lyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia Pang April 10-19, University Theatre Ever since the controversial rock opera by Andrew Lloyd Webber and Tim Rice was released as a concept album in 1970, it has
enflamed the passions of critics and fans alike. The story of Jesus of Nazareth during his final days, this high-energy, immensely popular show plunges deep into the hearts of the men and women, from Judas Iscariot to Mary Magdalene to Pontius Pilate, who played a part in one of the most momentous stories ever told.
THE CURRENT
April 17-19 Charlotte York Irey Theatre A showcase of vital new works by CU dance faculty and Millicent Johnnie, the 2014-15 Roser Guest Artist in Dance. Johnnie has performed with Urban Bush Women, Cleo Parker Robinson Dance Ensemble and Hubbard Street Dance Chicago. She has choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes.
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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.
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What was so ‘great’ about the Great War? This year marks the centennial of the beginning of World War I. On Oct. 8, the Kronos Quartet will perform “Beyond Zero: 19141918,” a multi-media work with music by composer Aleksandra Vrebelov and a film by Bill Morrison, based on long-lost archival film footage from the war. We asked Martha Hanna, professor of history and World War I expert at CU-Boulder, how that brutal, bloody conflict came to be known as the “Great War.” “It was the ‘Great War’ to those who lived through it—or died in it—because of its catastrophic effects, felt at the time and reverberating to this day,” she says, offering the following examples: Soldiers. Millions of men, from almost every continent on earth, fought in the Great War: 13 million Germans, 8 million Frenchmen, 5 million Britons, 2 million Americans. Estimates vary, but it is possible that as many as 10 million men died, and twice that many were wounded, some with disabling wounds— physical and psychological—which haunted them for the rest of their lives.
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Civilians. Civilians also felt the grim effects of war, in ways that would become characteristic of warfare in the 20th and 21st centuries. More than one million Armenian civilians were
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victims of genocide in 1915-16. On a much smaller scale, air raids—a new phenomenon in 1914 but a commonplace of modern warfare—targeted and killed civilians in London and Paris. Political upheaval. Four empires—Germany, AustriaHungary, Russia and the Ottoman Empire—collapsed as a direct consequence of their participation in the war. By making possible the Bolshevik seizure of power in 1917, the Russian Revolutions of that year laid the foundations for the Cold War. The collapse of the Ottoman Empire created political instability and the roots of the Middle East crises, which continue to this day. Debt. The war left all the major European nations in debt, and the victors insisted that Germany pay $33 billion in reparations. Anger over reparations, a key element in Nazi propaganda, helped undermine democracy in Germany after the Great War. Martha Hanna is Professor of History at the University of Colorado, Boulder. She is the author of the prize-winning book, Your Death Would Be Mine: Paul and Marie Pireaud in the Great War.
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Takács Quartet Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello Program String Quartet in C major, K. 465 Adagio – Allegro Andante cantabile Menuetto: Allegretto Allegro molto
Wolfgang Amadeus Mozart (1756-1791)
String Quartet in G minor, Op. 10 Animé et très décidé Assez vif et bien rythmé Andantino doucement expressif Très modéré
Claude Debussy (1862-1918)
Intermission String Quartet in E minor, Op. 59, No. 2 Allegro Molto adagio Allegretto Finale: Presto
Ludwig van Beethoven (1770-1827)
TAKÁCS QUARTET — Nov. 2-3, 2014
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Program Notes By Marc Shulgold
TAKÁCS QUARTET — Nov. 2-3, 2014
String Quartet in C major, K. 465 “Dissonance” The last of Mozart’s six quartets dedicated to Haydn shows more than a deep nod of respect and affection for the dedicatee – acknowledged as the father of the string quartet. This, and the five that preceded it, also reveals an interest in polyphony, shared among Viennese composers of the day. In the early 1780s, several leading composers began a rash of careful study of the “ancient” works of Bach and Handel, a renewed excitement centered around informal readings and re-arrangements offered at Sunday soirées in the home of Baroque-loving arts patron, Baron von Swieten. Getting acquainted with the early masters inspired Haydn, Mozart, Albrechtsberger (one of Beethoven’s teachers) and even young Beethoven himself to revisit the fugue and other previously discarded musical forms. Mozart’s magnificent set of six string quartets were fussed over for three years, from 1782-85, the first begun only a year after his arrival in Vienna. The young composer had just met Haydn, and the two quickly became colleagues and friends, and it didn’t take long for Mozart to receive and carefully investigate Haydn’s new, breakthrough Opus 33 String Quartets. But he also perused Bach’s WellTempered Clavier, going so far as to arrange five of its fugues for string quartet (K. 405), unveiled in the baron’s home one Sunday. The first of the six “Haydn” quartets, K. 387 in G, ends in a brilliant fugue, which also incorporates that glorious concept of the late 1700’s – Sonata Form (a similar fusion would occur later, in the finale of the “Jupiter” Symphony). Mozart’s father famously reported the praise lavished by Haydn at an evening of some of Wolfgang’s quartets.
String Quartet in G minor, Op. 10 For all their unprecedented newness, the works of Debussy did not emerge out of the blue. His modernist views of music were perfectly in step with what was already developing in the cafes, galleries and living rooms of Paris in the late 19th century. Imagine the scene on a Tuesday evening in the late 1880s, when poets, artists, philosophers and musicians gathered in the apartment of Stéphane Mallarmé, a leading poet in the Symbolist movement. Among those settling in for a night of newly penned words and music—plus, one assumes, intense discussion and wine-drenched argument—were Rodin, Monet, Paul Verlaine, André Gide, Proust and Debussy. Their collective goal was to banish forever the overblown sentiments of the Romantic era. Symbolists such as Mallarmé embraced free verse and free association with bizarre images that excited
Wolfgang Amadeus Mozart
Europe’s greatest composer enthusiastically called the 28-year-old “the greatest composer known to me” – the highest of high compliments. It’s not known if such words followed a performance of this C-major quartet – but it’s a good guess that others in attendance might have labeled the composer crazy, rather than great. If K. 465 was on the agenda that night in 1784, one can only imagine the raised eyebrows and confused expressions of listeners as the first 21 bars unfolded. The nickname “Dissonance” stems from that startling slow introduction, itself a rarity in Mozart’s chambermusic output. No need to speculate on what inspired this opening – which still sounds 200 years ahead of its time. (Reportedly, the publisher sent the score back for “corrections.”) Mozart always loved tension-and-release, and the discomfort generated by the intro serves as a perfect foil to the jolly, C-major theme that follows. Those first, clashing harmonies may jar, but notice that each instrument enters separately over those mysterious repeated notes in the cello. The tension created by this Baroque-flavored polyphony adds immeasurably to the drama. Nothing nearly as challenging occurs in the rest of this work: A lovely song-like Andante (emphasized by Mozart’s added cantabile reference) is followed by two jolly movements that sound more Haydnesque than Mozartean. That said, we can view K. 465 as a brilliant, daringly original work, fueled by Vienna’s current tastes in chamber music. The C-major quartet and its five siblings dedicated to his mentor stand as evidence of Mozart’s growing confidence and, as Haydn understood, indicate a giant step toward greatness.
Claude Debussy the senses. It was he who penned the evocative poem, The Afternoon of a Faun, which would later generate Debussy’s first major hit. Feeding off each other, these creative geniuses pointed art in a new direction. For the young composer, a need to think anew was counterbalanced by the obligation to respect music’s traditions and techniques. Swept up in the revolutionary works of his contemporaries, Debussy opined (perhaps recklessly) that music “by its very nature, is something that cannot be cast into a traditional and fixed form. The music I desire must be supple enough to adapt itself to the lyrical effusions of the soul and the fantasy of dreams.” Good luck with that. And so, we come to his String Quartet in G minor. How much of its freshness can be traced to those Tuesdays in
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Whatever the parade of influences that fired his imagination, finishing the quartet was no easy task. “I’ve had to start all over again three times,” he wrote his composer friend Ernest Chausson. The famed Belgian violinist Eugene Ysaÿe had befriended young Debussy and encouraged him to pen a quartet for his foursome. Listeners were befuddled when Ysaÿe and friends premiered it in Paris on Dec. 29, 1893. “Too orchestral,” complained one observer; “Orgies of modulation,” griped another. Yet, one prescient
String Quartet in E minor, Op. 59 No. 2 A tip of the hat to Prince Andrey Razumovsky (17521836), who not only commissioned the three quartets of Beethoven’s Opus 59 (thus giving them their nickname), but similarly had supported the chamber works of Haydn and Mozart. It was Razumovsky, then Russia’s ambassador to Vienna and a decent violinist himself, who founded the Schuppanzigh Quartet, the first free-standing, professional ensemble. This illustrious group served as an instant sounding board for Viennese composers, reading through new works before unveiling them publicly. The group premiered numerous works by Schubert, as well as Beethoven, starting with his Opus 59 of 1808 and continuing with the “Late” quartets. These “Razumovsky” quartets would be part of a new compositional approach by the composer (musicologists labeled it the Middle Period), in which the concerto, symphony and chamber repertoire would be constructed on a much larger scale. The enormous “Eroica” Symphony famously proposed the notion that music can expand beyond the short attention span of easily bored royals. This change took Viennese music-lovers by surprise. Reactions to the extended lengths of the Opus 59 threesome were less than complimentary, eliciting responses such as “a waste of
attendee labeled the 31-year-old composer “one of the most gifted and original artists of the young generation.” And Debussy’s reaction? “Well, I’ll write another (quartet) for you,” he wrote to Chausson. “And I’ll try to bring more dignity to the form.” Alas, he never approached the genre again. Despite his desire to refrain from “traditional and fixed form,” Debussy infuses this work with a clear, concise structure: Each movement (except the luxurious Andantino) adopts the motif heard in the very first bars, and transforms that material in sometimes obvious, sometimes subtle fashion. Along the way, one encounters theme-and-variation, inversion of a musical line, guitarlike strummings, playful pizzicatos and other identifiable touches. He even introduces a relaxed second theme in the opening movement—just as Mozart would have done. So much for eschewing tradition.
Ludwig van Beethoven money,” “not music” and “not generally comprehensible.” Beethoven dismissed one confused listener by noting, “Oh, they are not for you, but for a later age.” True enough. Compared to his first set of quartets—the six of Opus 18 from 1801—the composer had moved, within only a few years, miles away from the compact world of Haydn and Mozart. Inspired by Razumovsky’s commission and enthusiasm, Beethoven began writing the quartets in the spring of 1806 and finished all three by year’s end. The second of Opus 59 begins with a two-chord call to attention, followed (in typical Beethoven contrast) by a quiet little melodic turn— both clearly embracing the seriousness of the Quartet’s E-minor tonality. If a report by the composer’s friend and student Carl Czerny can be trusted, Beethoven wrote the E-major second movement after “contemplating the starry sky and thinking of the music of the spheres.” It sure sounds that way. Back to E minor for the off-kilter Scherzo, with a middle section quoting the Russian hymn, “Glory to God in Heaven, Glory!” (in honor of his patron). A galloping, nononsense Finale brightly wraps things up, highlighted by the amusing tossing about of that initial three-note idea.
Takács Quartet Recognized as one of the world’s great ensembles, the Takács Quartet plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder.
The quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The quartet’s commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West, Santa Barbara. They are also Visiting Fellows at the Guildhall School of
TAKÁCS QUARTET — Nov. 2-3, 2014
Mallarmé’s apartment? And how much to earlier exposure to the music of Russia (in the early 1880s, Debussy served as music adviser to Nadezhda von Meck, Tchaikovsky’s patroness)? How much from the exotic sounds of Javanese gamelan he heard at the 1889 Paris Exposition? On the other hand, how much of his quest for the new is tempered by an awareness of the traditions and, yes, the forms, of music, which must have intruded on the young composer’s desire to explore uncharted territory?
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Takács (cont.) Music and Drama, London.
TAKÁCS QUARTET — Nov. 2-3, 2014
The Takács became the first string quartet to win the Wigmore Hall Medal on May 10, 2014. The medal, inaugurated in 2007, recognizes major international artists who have a strong association with the hall. Other recipients include Andras Schiff, Thomas Quasthoff, Menachem Pressler and Dame Felicity Lott. Appointed in 2012 as the first associate artists at Wigmore, the quartet presents six concerts every season there. Other European engagements in 2014-2015 include the Edinburgh and Bath festivals, the Louvre in Paris, Amsterdam’s Concertgebouw, Vienna’s Musikverein, London’s Queen Elizabeth Hall, and others in Geneva, Florence, Cremona and Budapest. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. Based in Boulder at the University of Colorado, the Takács Quartet performs 90 concerts a year worldwide. In 2014-2015, the quartet performs throughout North America, returning to the Ravinia Festival and to Lincoln Center for two programs—one with guest violist Lawrence Power and the other with pianist Joyce Yang—and performs with pianist Marc-Andre Hamelin at the University of California, Berkeley, University of Connecticut and at Orchestra Hall in Chicago. They also return after many years to Santiago, Chile and Sao Paulo, Brazil. Meryl Streep performed Philip Roth’s Everyman program with the Takács at Princeton University on Sept. 19, in close collaboration with the author. The quartet is known for such innovative programming. They first performed Everyman at Carnegie Hall in 2007 with the late Philip Seymour Hoffman. They have toured 14 cities with the poet Robert Pinsky, collaborate regularly with the Hungarian Folk group Muzsikas, and in 2010 they collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last quartets. The quartet’s award-winning 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.
Their collaboration with Hyperion Records in 2006 started with a recording of Schubert’s Death and the Maiden and Rosamunde quartets. A disc featuring Brahms’ Piano Quintet with Stephen Hough was released to great acclaim in November 2007 and was subsequently nominated for a Grammy. Other recordings for Hyperion include Brahms’ Quartets op. 51 and op. 67; a disc featuring the Schumann Piano Quintet with Marc-Andre Hamelin; the complete Haydn Apponyi Quartets, op. 71 and 74; the Schubert Quintet CD with Ralph Kirshbaum; the three Britten Quartets and the Brahms Viola Quintets with Lawrence Power, viola. Upcoming Hyperion recordings include the two Janacek Quartets and Smetana’s From My Life, the Debussy Quartet and the Franck Piano Quintet with MarcAndre Hamelin, and Dvorak’s op. 105 Quartet and his Viola Quintet op. 97 with Lawrence Power, viola. Since 1988, the quartet has also made 16 recordings of works by Beethoven, Bartók, Borodin, Brahms, Chausson, Dvořák, Haydn, Mozart, Schubert and Smetana for the Decca label. The ensemble’s recording of the six Bartók String Quartets received the 1998 Gramophone Award for chamber music and, in 1999, was nominated for a Grammy. In addition to the Beethoven String Quartet cycle recording, the ensemble’s other Decca recordings include Dvořák’s String Quartet in E-flat Major, op. 51 and Piano Quintet in A Major, op. 81 with pianist Andreas Haefliger; Schubert’s Trout Quintet with Mr. Haefliger, which was nominated in 2000 for a Grammy Award; string quartets by Smetana and Borodin; Schubert’s Quartet in G Major and Notturno Piano Trio with Mr. Haefliger; the three Brahms string quartets and Piano Quintet in F Minor with pianist András Schiff; Chausson’s Concerto for violin, piano and string quartet with violinist Joshua Bell and pianist JeanYves Thibaudet; and Mozart’s String Quintets, K. 515 and K. 516 with Gyorgy Pauk, viola. The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takács-Nagy, Károly Schranz, Gabor Ormai and András Fejér, while all four were students. It first received international attention in 1977, winning First Prize and the Critics’ Prize at the International String Quartet Competition in Evian, France. The quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The quartet made its North American debut tour in 1982. Violinist Edward Dusinberre joined in 1993 and violist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in 2005. In 2001 ensemble was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary and in March 2011 each member was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary. For more information, please visit takacsquartet.com.
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MICHAEL BUTTERMAN, MUSIC DIRECTOR
2014-2015 SEASON
Legends: The Spirit of Boulder
Opening Night: Scheherazade
SEP. 14, 2014—7 PM at Macky GABRIELA MARTINEZ, PIANO CHARLES WETHERBEE, VIOLIN SAINT-SAËNS Piano Concerto No. 2
Stravinsky’s Firebird Suite
OCT. 11, 2014—7:30 PM TWYLA ROBINSON, SOPRANO BRIAN JONES, TIMPANI STRAUSS Four Last Songs SIBELIUS • GRIFFES
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Beethoven’s “Emperor” Concerto
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JAN. 17, 2015—7:30 PM CONRAD TAO, PIANO BEETHOVEN Creatures of Prometheus
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Faculty Tuesdays
Faculty Tuesday recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building at CU-Boulder. All performances are free and open to the public.
AUGUST 26:
Paul McKee, trombone
Meet the New Guy: The Arrangements and Compositions of Paul McKee
SEPTEMBER 2:
Yoshiyuki Ishikawa, bassoon
The Versatile Bassoon— Works from Baroque to Modern
SEPTEMBER 9:
SEPTEMBER 23:
Alejandro Cremaschi, piano
Unos y Dos Pianos del Sur
SEPTEMBER 30:
Charles Wetherbee, violin
with David Korevaar and friends
OCTOBER 7:
Christina Jennings, flute
Matthew Chellis, tenor
SEPTEMBER 16:
OCTOBER 14:
Bach Preludes and Fugues—Take two!
Musikabend: Brahms
with David Korevaar, Andrew Cooperstock and more
Elizabeth Farr, harpsichord
and friends
Hsing-Ay Hsu
OCTOBER 21:
Nicolò Spera, guitar
German Poetry: Johann Sebastian Bach
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OCTOBER 28:
Michael Thornton, horn
Inspired by Brahms
NOVEMBER 4:
Carter Pann, composer
With The New Music Ensemble and friends
NOVEMBER 18:
Daniel Silver, clarinet
Atonement
DECEMBER 2:
Margaret McDonald, piano
Best of Broadway
University of Colorado Museum of Natural History
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We offer full line of Kawai accoustic and digital pianos, German hand-made Schimmel pianos, Yamaha Clavinova and Arius digital pianos and their new hybrid Avant Grands aas well as a current selection of over 50 rebuilt/reconditioned pianos in all shapes and sizes.
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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 worldclass 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.
BENEFACTOR Mark and Margaret Carson Carson-Pfafflin Family Foundation Greg Silvus and Melanie Miller Ellen and Joshua Taxman SPONSOR Diane and Richard Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch PATRON Anonymous Joan McLean Braun Chris and Barbara Christoffersen Ruth Carmel Kahn Midge Korczak Hal Osteen Scott Wiesner and Janet Ackermann SUPPORTER Anonymous Albert and Nancy Boggess Fiona and Marv Caruthers Carol and Michael Gallucci Doree and Jerry Hickman Myra Jackson Susan and Jon Lounsbury Heidi and Jerry Lynch Janet and Scott Martin Robert and Sandra McCalmon Judy and Alan Megibow Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Lawrence and Ann Thomas CONTRIBUTOR Ellen and Dean Boal Norma Ekstrand and Tom Campbell Marty Coffin Evans and Robert Trembly Harold and Joan Leinbach Robert and Francine Myers Barbara and Irwin Neulight Gary and Beth Rauch Stephanie and Alan Rudy Kenneth Pope and Christine Willis 22 |
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MEMBER David Beausang Gil and Nancy Berman Shirley Carnahan Pauline and Noel Clark Catherine Cloutier Kenneth Dell Fran Evans Leslie and Merrill Glustrom John Graham and Lorin Lear Gregory and Gladeane Lefferdink Pamela Leland Judah and Alice Levine Thomas and Gail Madden Paul and Kay McCormick Janet and Hunter McDaniel Tammy Noirot Kim and Rich Plumridge Randall Rutsch Ruth Shanberge in memory of Carol Seideman Mary Ann Shea and Steven Meyrich Courtland and Carolyn Spicer Zoe Stivers Randi and Anthony Stroh Tom and Karen Thibodeau Lloyd Timblin Jr. Geoffrey Tyndall Derek Van Westrum Vince and Caroline Wayland
CORPORATE SPONSORS: Caplan & Earnest Center Copy Boulder, Inc. Frasier Meadows Retirement H.B Woodsongs Hurdle’s Jewelry James & Associates, LLC Roser Visiting Artist Endowment Shaw Construction WESTAF IN-KIND SPONSORS Boulder Weekly Colorado Public Radio The Daily Camera Flowers in Bloom Hotel Boulderado KUNC KUVO Liquor Mart The Pines Catering
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Takács Society
The Takács Society is formed by the College of Music and provides the resources critical to supporting the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attracting and retaining exceptionally gifted young artists and sponsor guest artists in the Takács performance series.
BENEFACTOR Albert and Nancy Boggess Gary and Judith Judd in memory of Fay Shwayder Norma R. Johnson Fund in memory of Fay Shwayder SPONSOR Pamela Decker Janet and David Robertson Marion Thurnauer and Alexander Trifunac PATRON Catharine Hawkins Foundation Thomas and Carol Cech Chris and Barbara Christoffersen Carol Lena Kovner Kathleen Sullivan The Takacs Quartet John and Carson Taylor SUPPORTER Anonymous Robert R. Kehoe Walter and Eileen Kintsch Lise Menn Virginia M. Newton Newton Family Fund, Inc. Neil and Martha Palmer Mikhy and Michael Ritter Susan and David Seitz Lawrence and Ann Thomas James and Lena Wockenfuss
CONTRIBUTOR Virginia and Stanley Boucher William and Alice Bradley Christopher and Margot Brauchli Noel and Pauline Clark Harold and Joan Leinbach Nancy and Paul Levitt Patricia and Robert Lisensky Cheryl Stevenson and James Cannon Stevenson-Cannon Family Fund Lynn Streeter Randi and Anthony Stroh Patricia Thompson MEMBER Lois Abbott Maria and Jesse Aweida Ted and Ingrid Becher Marda Buchholz Kevin and Diana Bunnell Patricia Butler Shirley Carnahan Penny Chenery Charlotte Corbridge Joann and Richard Crandall Barbara and Carl Diehl Carolyn and Don Etter Marcia Geissinger and Neil Ashby Mary and Lloyd Gelman Steve Goldhaber and Mariana Goldhaber-Vertenstein Dianne and Kenneth Hackett David Hammer Jon and Liz Hinebauch Bruce and Kyongguen Johnson Jennifer and Bob Kamper Caryl and David Kassoy Mireille Key Alice and Judah Levine
If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070. 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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Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar Thomas and Gail Madden Caroline Malde Nancy and John Malville Maxine Mark J. Richard and Marjorie McIntosh Peter and Doris McManamon Christopher Mueller and Martha Whittaker Joan Nordgren Alison and Graham Oddie Joanie Oram Julie and Wayne Phillips Arthur and Ina Rifkin Joanna and Mark Rosenblum JoAn Segal Ruth Shanberge in memory of Carol Seideman Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Jan and Charles Squier Helen Stone Berkley Tague Laurie and Arthur Travers Mary and Peter Van Etten Betty Van Zandt Thomas VanZandt Christopher and Leanne Walther Bill Wood M. Yanowitch
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Friends of CU Opera The CU 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 CU Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting CU Opera, please contact our development office at 303-735-6070. BENEFACTOR Anonymous The Academy Charitable Foundation, Inc. Allen Family Fund Paul Eklund Bob Graham Ann Oglesby SPONSOR Alan and Martha Stormo PATRON Chris and Barbara Christoffersen Albert and Betsy Hand Bob and Mikee Kapelke Ken and Ruth Wright Wright Family Foundation SUPPORTER Anonymous Caulkins Family Foundation John Hedderich Jo and David Hill Mikhy and Mike Ritter Rotary International District # 5450 Lawrence and Ann Thomas CONTRIBUTOR Donna and Ken Barrow Jim and Judith Bowers Walt and Mary Ruth Duncan Martha Coffin Evans and Robert Trembly David and Janet Hummer Harold and Joan Leinbach Burr Lloyd Dave and Ann Phillips Peter Wall
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MEMBER Judith Auer and George Lawrence Bob Burnham and Gail Promboin Allene Cash Ben and Gale Chidlaw Wallace and Beryl Clark Peter and Joan Dawson Richard and Margaret Dillon Ellen and John Gille Steve Goldhaber and Mariana Goldhaber-Vertenstein Susan Graber Janet Hanley Linda L. Johnson Frank and Marion Kreith Nicholas and Mollie Lee Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce Mackenzie Marian Matheson Byron and Cathy McCalmon Denise McCleary and Paul Von Behren Corinne McKay Richard and Donna Meckley Pat and Bob Meyers Marilyn Newsom Margaret Oakes Robert and Marilyn Peltzer Dennis Peterson Juan and Alicia Rodriguez Elaine Schnabel Ruth Schoening JoAnn Silverstein and Nevis Cook Helen Stone Daniel Urist
GRANTS Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation
New to the opera? Here are a few tips CU Opera director Leigh Holman describes opera as “a thrilling spectacle, rich in emotion, drama and music.” But what if you are a newbie? We asked Leigh to answer a few questions about how to make the most of your CU Opera experience. What is opera? It’s a venerable theatrical and musical art form in which singers and musicians perform a dramatic work that combines text—known as the libretto—and a musical score. Operas are sung, not spoken, and almost always performed in the language in which they were written, including Italian, German, French, Russian and English. How will I understand what’s going on, especially if it’s in a foreign language? Your friends Google and YouTube are happy to help! You can find YouTube clips of arias—expressive moments when the singer is performing solo—songs and even entire performances of most traditional operas. It’s a great idea to read a synopsis online and the notes in your CU Presents program also offer great information. And CU Opera always provides a crib sheet, projecting supertitles in English for operas sung in another language. Do you really have to dress to the nines when you go to the opera? It’s always fun to dress up. But hey, this is Boulder. You can wear tails and a top hat, pearls and a gown, jeans and a sweater or flip-flops and t-shirt—pretty much anything you like, though earmuffs or dark glasses will detract from your experience.
What should I listen for during the performance? First, pay attention to the overture—the musical number played by the orchestra to start the show often follows the emotional arc of the story—doom or joy, celebration or mourning—and is layered with themes and passages from the larger work. Singers, too, color and weight their voices to reflect mood and emotion. Listen carefully and you’ll be amazed to hear dark and light, good and evil, woe and happiness, just from the way they color their voices. OK, I have to ask: What’s the story with the buxom lady wearing horns and braids? Oh, her? That’s just Brünnhilde, one of the Norse Valkyries in Wagner’s famous German opera, The Ring of the Nibelung. Besides being played by Bugs Bunny in the famous cartoon, What’s Opera, Doc?, she sings the long, final aria and has become inextricably linked with the art form for many nonaficionados. But don’t expect to see her at CU Opera … unless we’re doing Wagner! CU Opera will perform Gilbert and Sullivan’s classic comic operetta, The Pirates of Penzance, Oct. 24-26 at Macky Auditorium. For tickets and information, go to cupresents.org or call the box office at 303-492-8008. —Leigh Holman, director of CU Opera
CU Theatre & Dance
2014–2015 Season
cupresents.org 303-492-8008
Season tickets on sale now! University Theatre Series Our Town by Thornton Wilder (Sept. 26 - Oct. 5) A Broadway Christmas Carol by Kathy Feininger (Dec. 4 - 21) Tartuffe by Molière (Feb. 13 - 22) Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice (April 10 - 19) Irey Dance Theatre [UN] W.R.A.P.: Undoing Writing, Research and Performance (Sept. 12-13) The D.A.M. Show: Dance Art Media (Oct. 17-19) Liminal (Nov. 14-16) Catapult (Feb. 13-15) The Current (April 17-19)
Single tickets start at $12
For full events listing: colorado.edu/theatredance
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Personnel
COLLEGE OF MUSIC ADVISORY BOARD Robert Shay, Dean James R. Austin Chris Brauchli Steve Bruns Bob Bunting Jan Burton John Davis Paul Eklund Bill wElliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree Hickman David Hummer Daryl James Caryl Kassoy Robert Korenblat Erma Mantey Joe Negler Susan Olenwine Mikhy Ritter, co-chair Becky Roser, co-chair Mark Tezak Jeannie Thompson Jack Walker HONORARY DIRECTORS Dean Boal Bob Charles Eileen Cline Donna Erismann Dave Grusin
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| cupresents.org
CU Presents offers the very best in the performing arts on the CU-Boulder campus, including the Artist Series, Colorado Shakespeare Festival, CU Opera, the Takács Quartet, CU Theatre & Dance and the Holiday Festival. Joan McLean Braun, Executive Director Nick Vocatura, Operations Director Laima Haley, Marketing Director Clay Evans, Communications Director Daniel C. Leonard, Marketing and Public Relations Coordinator Karen Schuster, Graphic Designer Rachel Dodson, Emily Scraggs, Colin Wichman, Public Relations Assistants Stephanie Doctor, Programs Assistant Margaret Romero, Production Assistant Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Coordinator Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Financial Manager Ted Mulcahey, Piano Technician MACKY AUDITORIUM STAFF Rudy Betancourt, Director Sara Krumwiede, Assistant Director John Jungerberg, Operations Manager JP Osnes, Technical Director Rojana Savoye, House Manager Program editor: Clay Evans Cover design: Karen Schuster
PATRON INFORMATION • CU Presents venues are fully accessible to patrons using wheelchairs and those with other special needs. Please call the box office as early as possible at 303-492-8008 to make arrangements. • Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information please call the box office at 303-492-8008. • Food is permitted in seating areas of Macky Auditorium and the Mary Rippon Outdoor Theatre, but prohibited in other campus venues unless otherwise noted. • Photographic and recording devices are prohibited. • All programs, artists and prices are subject to change. • All sales are final. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply. • CU presents will hold all events as scheduled unless the CU-Boulder campus is closed due to hazardous weather. We will make every effort to notify patrons of an emergency closure. For detailed information on the Colorado Shakespeare Festival’s rain policy, please visit coloradoshakes.org. • Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children. • Patrons are encouraged to refrain from wearing strong fragrances. • Can’t use your tickets? Return them to the CU Presents box office as a tax-deductible contribution prior to the beginning of the performance. • The University of Colorado Boulder is a smoke-free campus.
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