CU Presents Magazine Takács Spring 2015, April 26-27, 2015

Page 1

2014–2015 Season

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


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Contents Merchant pleases fans old and new......................................... 6 Calendar........................................ 8 Jesus Christ Superstar changed the face of theater in Boulder............ 10 2015 Colorado Shakespeare Festival features fan favorites...... 14 Thompson Jazz Studies Program.......................... 18 Faculty Tuesdays......................... 20 Artist Series donors..................... 22 Takács donors............................. 24 Eklund Opera Program donors.... 28 Personnel.................................... 30

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SPOTLIGHT

Gray and graceful, Merchant pleases fans old and new with symphony collaborations Natalie Merchant is used to it by now—the startled gasp from the audience when she emerges on stage. The reaction says more about our celebrity-crazed culture than it does about Merchant, embraced by fans in the 1980s as the hip vocalist and literate lyricist/songwriter for the alt-folk-rock band 10,000 Maniacs. Now 51, she’s doing everything she can to celebrate her maturity. Case in point: She stopped coloring her hair, and started rocking the salt-and-pepper look.

“The palette is so rich and broad with an orchestra. The emotional, dynamic range is so huge. It goes from a whisper to a sunburst,” Merchant says. “It seems natural to try to evolve as a more mature performer. … This is a way for me to stay active and vital, and I feel that it’s a way that I can stay true to myself.” Natalie Merchant will perform at 7:30 p.m. Thursday, April 2 with the CU Symphony Orchestra at Macky Auditorium as part of the Artist Series. For tickets, go to cupresents.org or call 303-492-8008. — Mary Colurso, AI.com

“It’s part of my campaign to age gracefully,” Merchant says. “I think, as a culture, we’re obsessed with youth culture. … But I’ve completely changed my mindset. Now, when I see women with gray hair, it’s beautiful.” In that same spirit, she has been performing with symphony orchestras across the country, freshly arranging songs from both her multi-platinum solo and Maniacs albums to accord with strings and woodwinds, brass and percussion. COURTESY NATALIE MERCHANT

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2014-15 Calendar

E K L U N D

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.

NATALIE MERCHANT with the UNIVERSITY SYMPHONY ORCHESTRA

Thursday, April 2, 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 Jewelry.

Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU’s Eklund Opera Program 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.

COSÌ FAN TUTTE

By Wolfgang Amadeus Mozart March 13-15, Macky Auditorium Mozart’s witty opera buffa, which follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities, was considered too hot for audiences in the early 20th century. This production highlights comic elements and takes its cue from romantic comedies of the late ‘50s and early ‘60s such as Pillow Talk, starring Doris Day and Rock Hudson. Sung in Italian with English surtitles.

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, turning conventional morality on its head—virtue is punished and greed rewarded. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.

COSÌ FAN TUTTE

The nation’s second-oldest Shakespeare festival raises the curtain June 5 for its exciting 2015 season. CSF is a unique Boulder experience you won’t want to miss — magic, mirth, mayhem … and mountains. Go to coloradoshakes.org for more information and tickets. of philosophy — and ego — the freethinking MUCH ADO ABOUT NOTHING HENRY V skeptic Dr. Faustus and stuffy, guilt-ridden June 5-Aug. 9 July 16-Aug. 9, University Theatre Martin Luther. Punny, funny, brainy and zany, Directed by Carolyn Howarth, director of Mary Rippon Outdoor Theatre David Davalos’ ingenious mashup is equal parts CSF’s 2014 Henry IV, Part 1 Directed by Jim Helsinger, Orlando Tom Stoppard, campus caper and metaphysical England’s crown rests on the head of the once Shakespeare Theater mind-trip. wild and undisciplined acolyte of Falstaff, Romantic, raucous and razor-sharp, the Hamlet Prince Hal, now a wise and noble monarch of Shakespeare comedies strikes hilarious chords OTHELLO leading his country into war with France. even as it reveals timeless truths about love, change Rousing and cinematic in scope, Henry V raises and acceptance. The men have returned victorious June 26-Aug. 8 Mary Rippon Outdoor Theatre compelling questions about leadership in a from war, but the merry sparring — and sparks Directed by Lisa Wolpe, Los Angeles troubled world that powerfully echoes our own. — between Benedick the stubborn bachelor and Women’s Shakespeare Co. With this production, CSF completes the fourwitty, self-assured Beatrice have just begun. In a country at war, Othello the Moor play Henriad history cycle begun in 2013. commands with authority and nobility of spirit, WITTENBERG drawing strength from his bold and beautiful HENRY VI, PART 1 June 11-Aug. 8 (Colorado premiere) wife, Desdemona. But he has placed his trust in Aug. 2 and 5 , University Theatre University Theatre one of Shakespeare’s most sinister villains, Iago, Back by popular demand, CSF presents two Directed by CSF Producing Artistic Director who would sow seeds of doubt and destruction exclusive, “original practices” performances of Timothy Orr in the garden of their love. Passion, jealousy and the rarely produced saga of Henry V’s son. Last To believe or not to believe? That is the question murder explode in a sexy theatrical thriller that seen onstage at CSF in 1967, the play features when Prince Hamlet, a dazed-and-confused tumbles toward a diabolical finale one of Shakespeare’s most intriguing females, senior at Wittenberg University, circa 1517, Joan of Arc. Both 2014 “OP” shows sold out, is caught in the crossfire between two giants so buy your tickets early! 8 |

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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.

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, Hubbard Street Dance Chicago and choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes.

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 guest. All Takács performances take place in Grusin Music Hall. Takacsquartet.com

TAKÁCS QUARTET

Sunday, April 26, 4 p.m. Monday, April 27, 7:30 p.m. Haydn — String Quartet in B flat major; Carter Pann — String Quartet No. 2 – Operas; Cesar Franck — Piano Quintet in F minor (with David Korevaar, piano)

SPRING SWING

Sunday, 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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SPOTLIGHT

Jesus Christ Superstar changed Boulder’s theater scene in 1970s Andrew Lloyd Webber and Tim Rice’s monumental rock opera Jesus Christ Superstar, first recorded as a concept album in 1970 and produced on Broadway the following year, changed the face of musical theater—and Boulder’s theater scene.

CU Theatre presents

Jesus Christ Superstar

The musical was popular—and controversial—from the start. Based on the Gospel of John, its doubting Jesus, tortured Judas, sympathetic Pilate and scheming priests, it was banned and drew protests and charges of anti-Semitism. Yet millions of fans, believers and non-believers alike, made it one of the most beloved musicals in history.

A rock opera By Andrew Lloyd Webber and Tim Rice

April 10-19

University Theatre

A few facts about the show’s history in Boulder and beyond: The original recording featured Ian Gillan of Deep Purple as Jesus, future disco star Yvonne Elliman as Mary Magdalene and glam rocker Gary Glitter as a priest. n The original Broadway production won six Tony Awards, including best score. n At the time of its first closing, Superstar was the longestrunning musical in the history of London’s West End.

Tickets $19, available at colorado.edu/theatredance/events or by calling 303-492-8008

n

The show has been banned by the BBC, South Africa, the Soviet Union and as recently as 2012 in Belarus and Russia. n Many famous entertainers have done the show, including Alice Cooper and Jack Black as King Herod, Ben Vereen and the Who’s Roger Daltrey as Judas, and the Indigo Girls’ Amy Ray as Jesus. n A 17-year-old John Travolta didn’t get the part when he auditioned for Jesus in the 1973 film version, but producer Robert Stigwood soon made him a star in Saturday Night Fever. n Boulder High School’s 1976 production, directed by Ross Haley, remains the only show at the school ever to be held over for encore performances. n CU Presents Executive Director Joan McLean Braun and Lissy Garrison, Assistant Dean for Advancement at the College of Music, played in the orchestra for the BHS production. n Keith Hurdle, owner of Artist Series sponsor Hurdle’s Jewelry, played Peter. n Matthew Monfort, who played live electric guitar, is listed as one the 100 greatest acoustic guitarists by Digital Dream Door alongside such notables as Doc Watson and Joni Mitchell. n Haley and some parents of students in the show started Boulder’s Dinner Theatre in 1977. n Michael Duran, who played Jesus in BDT’s 1978 Superstar, is now directing producer. n

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SPONSOR

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Jesus Christ Superstar Lyrics by Tim Rice Music by Andrew Lloyd Webber

April 10-19

University Theatre Tickets start at $19

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SPONSOR

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SPOTLIGHT

2015 Colorado Shakespeare Festival features fan favorites, young stars and an Emmy Award winner The Colorado Shakespeare Festival’s 58th annual season opens June 5 with a professional acting company that includes television and film veteran Peter Macon, as well as perennial favorites and fresh new faces. Macon will star eponymous nobleman in Othello, reprising a role he played at the Oregon Shakespeare Festival (2008) and Minneapolis’ prestigious Guthrie Theater (2014). In addition to treading the boards on and off Broadway, his film and television credits include roles on Dexter, The Shield and Law and Order. He received a 2002 Emmy Award for his voiceover performance on Animal Tales of the World. “Macon … possesses the kind of deep voice that sounds like it comes direct from Olympus,” writes the St. Paul Pioneer-Press. CSF’s 58th annual season lineup also includes Much Ado About Nothing in the incomparable Mary Rippon Outdoor Theatre, the Colorado premiere of the comedy Wittenberg— “Hilarity, thy name is Wittenberg,” The New York Times says of this zany, brainy 15th-century campus caper—Henry V and two “original practices” performances of Henry VI, Part 1.

SPONSOR

BACKGROUND IMAGE: PHOTO BY ZACHARY ANDREWS/COLORADO SHAKESPEARE FESTIVAL

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Boulder Arts Week March 27– April 4, 2015

This citywide event will highlight Boulder’s distinguished arts and cultural programming and will include art walks, exhibitions, performances, dance, music, theater and artist demonstrations. Find all the details at: boulderartsweek.org

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Other highlights of the 2015 acting company include: n CSF favorite Geoffrey Kent as as Macon’s sinister foil Iago n Denver Center favorite Lawrence Hecht—last seen at CSF as a hilariously tawdry Puck in A Midsummer Night’s Dream—as freethinking Dr. Faustus in Wittenberg n Laura Baranik, veteran of the stage in Prague and New York, as Othello’s wife Desdemona n Benjamin Bonenfant as Henry V, continuing the role he played in Henry IV, parts 1 and 2 in 2014 n Many other favorites, including Jenna Bainbridge, True West and Henry award winner Sean Scrutchins and the Denver Center’s “man of a thousand faces,” Rodney Lizcano n Learn more at coloradoshakes.org Tickets are on sale now for CSF’s 2015 season at coloshakes.org and 303-4928008.

PETER MACON AS OTHELLO, GUTHRIE THEATER, 2014 PHOTO BYJOAN MARCUS/ GUTHRIE THEATER


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With

David Korevaar, piano

___________________

Program

String Quartet in B-flat Major, Op. 64 No. 3 Vivace assai Adagio Menuet. Allegretto Finale. Allegro con spirito String Quartet No. 2 — “Operas” (2014) 1. L’Extase 2. Precipitato 3. Passacaglias 4. Commute: Adjusting the Torque 5. Escher’s Rounds

___________________ Joseph Haydn (1732-1809)

Carter Pann (b. 1972)

Intermission Piano Quintet in F minor David Korevaar, piano

Cesar Franck (1822-1890)

TA K Á C S Q U A R T E T — A p r i l 2 6 - 2 7 , 2 0 1 5

Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello


C-2

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Notes

TA K Á C S Q U A R T E T — A p r i l 2 6 - 2 7 , 2 0 1 5

By Marc Shulgold

String Quartet in B-flat, Opus 64 No. 3 Franz Joseph Haydn Haydn’s six quartets of Op. 64, along with the preceding sets of Opus 54 and 55, will be forever linked with an amusing character who seemed to get in more trouble than a gaggle of high-school pranksters. All 12 of those quartets were dedicated to Joseph Tost —or, at least, that’s how they’re inscribed in some editions.

Maybe that was Haydn’s intention, maybe not. With Tost hanging around, you never know. From 1783 to ‘89, he was employed at Esterháza, the Hungarian estate of the Esterházy family. Tost was leader of the second violin section in the court orchestra (Haydn was resident composer there for 30 years). The violinist also appears to be an unscrupulous wheelerdealer. Sent to Paris by Haydn to sell a couple of his Symphonies, along with the Quartets of Opus 54 and 55, Tost did just that—along with a work by an obscure composer, which he shamelessly passed off as one of Haydn’s. Typical of Tost, payments were forwarded to Esterháza in agonizingly slow fashion. Once back at the Austrian estate, Tost married the head housekeeper (a shrewd move, since she was well-paid) and later went on to build a small fortune as a cloth merchant. Recent editions of Haydn’s Opus 54 and 55 quartets list dedications to Grosshandler Tost, referring to the violinist’s mercantile career—one that was later cut short when he ran into trouble with Viennese authorities, finally dying impoverished in 1831. While Haydn was in London in 1790, the violinist managed to have the Quartets of Opus 64 published with a new Opus number along with a dedication to “Monsieur Jean Tost.” The authoritative early editions of these works, however, show no mention of the violinist— or anyone else, for that matter. Completed in 1790 (two years after the previously mentioned two sets), Opus 64 emerged at a pivotal time in Haydn’s life. His beloved employer, Nikolaus Esterházy, died that year, succeeded by his son Anton, who promptly shut down the musical and theatrical activities at the estate and released Haydn from his service. Now free to seek fame and fortune elsewhere, the composer found both in London, where he provided his English fans with a dozen Symphonies, discovering the joys of writing bigger music for bigger audiences. This critical transition can be traced in the six Opus 64 quartets: The first four carry traces of the intimacy of courtly life, while the final two (notably the so-called “Lark”) were on a larger scale and more outgoing, no doubt written with his London audience in mind. In the Third of the set, we hear a clarity of design, displaying a parade of themes introduced in logical progression, many merrily offered with no small

degree of wit. Notice the charming galloping idea heard in the opening Vivace and the unconcealed contrast of major- and minor-key tunes in the following Adagio. The remaining movements similarly bubble with easily grasped themes and numerous examples of Haydn’s fondness for playful musical tricks, such as stopping unexpectedly, changing gears, testing his listeners’ patience with a series of repeated notes, concealing downbeats and such—the sort of amusement once enjoyed by the court at Esterháza. Now out in the real world, the composer seemed to stretch out, free to explore new thoughts and new directions, as the social and political climate in Europe was moving in the direction of revolution—forever altering the fabric of life and the sound of music. String Quartet No. 2 — “Operas” Carter Pann Pann’s Second Quartet was commissioned by Elizabeth and Justus Schlichting for the Takács Quartet to honor Nancy Bell Coe. It was premiered by the Takács April 11, 2014 in Beverly Hills, California. Pann received the commission to create this piece in the fall, 2013 and wrote it from June to September 2014, mostly at the Helene Wurlitzer Foundation artist residency in Taos, New Mexico. The composer, an associate professor of music at the University of Colorado Boulder, is the recipient of numerous honors, including a Grammy Award nomination in 2001. His chamber and orchestral works have been performed throughout the United States and Europe. Carter Pann offers the following notes on the piece: The work is cast in five movements with a total duration approaching 30 minutes. Each movement further explores a harmonic language I have been cultivating in recent years through the presentation of five differing characters, or miniature operas. I. L’Extase is an extremely slow, unmetered expression. The quartet members very rarely depart from playing together in rhythmic unison. There are many rich harmonies and vaulted climaxes through which the quartet travels as a single entity while exercising unusual patience. This is the kind of ecstasy one can experience through incredible and enduring restraint. II. Precipitato runs at breakneck speed through a terrain of dissonance the likes of which I almost never explore. There are moments of bright, sonorous relief but they are few and fleeting. This is a machine-beast on the hunt, ramming itself through almost anything. III. Passacaglias presents a problem or game which I set down for myself to solve. The movement resembles a Baroque Air. The first violin sings a


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Piano Quintet in F minor César Franck César Franck’s sprawling, unblushingly romantic music endured plenty of criticism in his lifetime. Charles Gounod described the (now-beloved) D-minor Symphony as “an affirmation of incompetence pushed to the length of dogma.” The Belgian-born composer did have his fans— mostly his devoted students, many of them important composers-to-be, who became known as the

“Franckists.” But there were two important people who caused quite a stir when they publicly turned up their noses at the composer’s Piano Quintet. Surprisingly, one was his wife, Félicité (we’ll get to that in a moment). The other, most famously, was the pianist at the work’s first performance in January, 1880—Camille SaintSaëns. Imagine the scene as the lush, expansive work that was first heard in Paris at a concert by the Société Nationale de Musique (not incidentally, an organization founded by Saint-Saëns). Many in attendance had known of Franck only through his reverent organ music, and so were shocked by its passionate sweep. Still, the audience warmly applauded the piece at its conclusion, welcoming the composer onstage. Ah, but then there was the pianist. Agreeing to accept Franck’s invitation to team with the Marsick Quartet for the premiere (at which he sight-read the new work), Saint-Saëns soon grew visibly annoyed by the near-constant modulations as the music unfolded. When Franck walked onstage to receive the applause, Saint-Saëns marched past the composer and exited in a huff—rudely leaving behind the score, which bore a heartfelt dedication to him and was intended as a gift. Could the music really be all that inferior—or was there something else at work in this snubbing? That “something else” may have been a composition student named Augusta Holmès. It seems that Franck was smitten with Augusta, and it’s possible that SaintSaëns was as well, thus perhaps adding to a general disgust with his rival. It’s also possible that Franck’s feelings for his young student inspired an unexpected level of swirling sensuality in the music. There’s no debate, however, about the reaction from the aforementioned Madame Franck, who well understood the source of the quintet’s uninhibited passions, and continued to publicly voice her dislike for the piece. Holmès, by the way, later enjoyed a successful composing career and led a campaign by Franck’s students to install a bronze medallion (by Auguste Rodin) on the composer’s tomb. As for the music itself, one hears less French lightness and transparency and more of a heavy, non-Gallic influence—the stern dramatics of Wagner and Liszt in particular—which may have increased SaintSaëns’ displeasure. Also evident is Franck’s unending fondness for a cyclical structure of returning themes, observed prominently in his D-minor Symphony and A-major Violin Sonata. Here, a rhythmically syncopated idea in the opening movement, introduced first by the piano and then by the first violin, shows up in the two succeeding movements. For all its disciplined construction, the Quintet carries an engaging spontaneity and full-blooded emotion

TA K Á C S Q U A R T E T — A p r i l 2 6 - 2 7 , 2 0 1 5

couplet of very long lines(first rising, then falling) above the texture while the other three strings present acontrapuntal fabric anchored by a slow passacaglia occurring first in the ‘cello, then thesecond violin, then the viola, each voice built on different musical intervals. It may go without saying that the real challenge was in hanging a musical progression on each of these very unwavering and obstinate passacaglias. IV. Commute : Adjusting the Torque is a twomovement prelude and dance with a comparatively lighter and more popular feel. Commute is fast and furious with a very bright harmonic palette draping insistent perpetual-motion rhythms. The violins duet above a viola and ‘cello duet. Immediately following the last slowing repeated notes from the viola, the quartet segues into the dance, Adjusting the Torque. The title notonly describes the jaunty, tongue-incheek rhythms of the movement, but also tips a hat to another living composer, Michael Torke (pronounced “TOR-kee”). Michael has become very well-known as a composer of extremely direct, brightly optimistic, well-crafted and pop-influenced music. One of his more popular chamber works is Adjustable Wrench— and furthermore his early personal publishing name happened to be Adjustable Music. This movement of the quartet is no less than a musical homage to Michael. V. Escher’s Rounds. Maurits Cornelis Escher (1898-1972) was a Dutch artist of profuse talent and mind-bending precision and creativity who died a month after my own birth. For as long as I can remember I have been utterly captivated by his images of quiltpatterned birds, lizards, and fish in metamorphosis as well as his stairways that twist one’s own perspective upside down or backwards. These are only a few examples of the many subjects M.C. Escher put his hand to. In this last movement I decided to take a fairly simple musical concept (repeated notes) and explore a similar idea of harmonic metamorphosis through time. These rhythmically static (repetitive) moments alternate with sections of more varied texture exploring certain canonic relationships, or more precisely, rounds. I would like to thank the four members of this truly remarkable quartet. They fueled such an inspired few months during the writing of this work. My thoughts on each of them are all over the pages of this piece. —Carter Pann


C-4

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that has enthralled listeners since that scandalous Parisian premiere.

TA K Á C S Q U A R T E T — A p r i l 2 6 - 2 7 , 2 0 1 5

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 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. 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. 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. 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 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; and Mozart’s String Quintets, K515 and 516 with Gyorgy Pauk, viola. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder, where the quartet has helped to develop a string program with a special emphasis on chamber music. 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 Music and Drama, London. takacsquartet.com.

Artist Bios

Composer/pianist Carter Pann has written for and worked with musicians around the world, including performances by ensembles such as the London Symphony and City of Birmingham Symphony, the Tchaikovsky Symphony in Moscow, many radio symphonies around Europe, the Seattle Symphony, National Repertory Orchestra, the youth orchestras of New York and Chicago, and countless wind ensembles. He has written for Richard Stoltzman, the Antares Ensemble, the Capitol Saxophone Quartet, the West Coast Wind Quintet, the River Oaks Chamber Ensemble and many concert pianists. His String Quartet No. 2 “Operas” was commissioned by the Takács Quartet. Pann has been awarded a Charles Ives Fellowship, a Masterprize seat in London and five Morton Gould ASCAP awards (including a Leo Kaplan award) over the years. His numerous albums encompass solo, vocal, chamber, orchestral and wind music and have received two Grammy Award nominations to date. He currently associate professor of composition at the University of Colorado Boulder. carterpann.com David Korevaar successfully balances an active performing career as a soloist and chamber musician with teaching at the University of Colorado Boulder, where he is professor of piano. He has performed across the United States from Boston, New York and

Washington, D.C. to Chicago, Cincinnati, Houston, Dallas and San Diego, and he plays frequently in Colorado with orchestras, in chamber ensembles and in solo recitals. He performs and teaches annually in Japan, and has performed in Europe, Australia, Korea and Abu Dhabi. In March 2008, Korevaar spent two weeks performing and teaching in Kazakhstan and Tajikistan as a Cultural Envoy sponsored by the U.S. State Department. Korevaar’s CD releases include Bach’s Goldberg Variations (Ivory Classics) and French Music from the Ricardo Viñes Collection (Koch). Also released in 2007 was a recording of Beethoven’s Sonatas Op. 31, No. 1, Op. 101, and Op. 111 (Ivory). Other solo releases include Ravel’s Le tombeau de Couperin, Gaspard de la nuit, and Miroirs (MSR Classics) and Brahms Variations for Piano (Ivory Classics). His honors include top prizes from the University of Maryland William Kapell International Piano Competition (1988) and the Peabody-Mason Music Foundation (1985), as well as a special prize for his performance of French music from the Robert Casadesus Competition (1989). In May 2000, he received the Richard French award from the Juilliard School. Prior to joining the faculty at CU-Boulder in 2000, Korevaar taught for many years at the Westport School of Music in Connecticut.


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Thompson Jazz Studies Program

The Thompson Jazz Studies Program at the CU-Boulder College of Music, started in 1996, was named in honor of Jack and Jeannie Thompson in 2013. The program features three big bands and seven jazz combos, which perform dozens of public concerts a year, as well as residencies, performances and clinics by prominent jazz artists. Participants have been recognized numerous times in DownBeat Magazine’s Annual Student Music Awards. BENEFACTOR Joseph and Becky Negler Jack and Jeannie Thompson PATRON J. Michael Dorsey and Carolyn Buck Martha and Alan Stormo SUPPORTER Leslie and Henry Eaton Gretchen King

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MEMBER William and Rebecca Brookhart Donald and Martha Deutsch Frances Evans William and Ruth Frye Gregory and Gladeane Lefferdink Marian Matheson Derek Matsunaga Linda and Michael McLane Claudia Mills Gary and Brooke Palumbo Brenda Parolini and Richard Miller Gail Promboin and Robert Burnham Andrew Rogowski Carolyn Santangelo and Scott May Stephen and Amy West

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To learn more about giving to the Thompson Jazz Studies program, call 303-735-6070 or email jeni.webster@colorado.edu.

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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 unless otherwise noted. These free performances are held throughout the academic year and open to the public.

MARCH 17

Daniel Kellogg, composer, Bjorn Arvidsson, librettist and tenor, Hsing-Ay Hsu, piano, and singers

World premiere of Packer, a one-act chamber opera about the infamous Alferd Packer, who was convicted of murdering and eating five men he was guiding through snowy mountains near Montrose, Colorado in 1874.

RICHARD TOENSING

MARCH 31

Christina Jennings, flute, David Korevaar, piano, Daphne Leong, piano, and Allan McMurray and the Wind Symphony, with guests Julie Simson, Matthew Dane, James Buswell and Carol Ou

Richard Toensing Memorial Concert The College of Music will present a concert to commemorate the life and work of CU Emeritus composer and past chair of the Composition Department Richard Toensing, who died in July.

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INSPIRING PERFORMANCES by WORLD-CLASS FACULTY in an UNMATCHED MOUNTAIN SETTING

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There’s no place like home.

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here’s something special about life at Frasier. And it’s reflected in the smiling faces and close connections you’ll see everywhere on our spacious, graceful campus. Is it our stellar setting, close to all the best Boulder attractions? Our gorgeous selection of living spaces and long list of amenities and activities? The sense of belonging to a spirited community of friends and family? The opportunity to pursue new passions? Or the peace of mind that comes from our continuum of on-site-care? Whatever the reason, one thing is certain: no place compares to home sweet Frasier.

Our new, specially designed Assisted Living and Memory Care Apartments open at the end of 2014. To learn more, visit FrasierMeadows.org.

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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 Paul Bechtner 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 Barbara and Irwin Neulight Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Theodore and Ruth Smith Lawrence and Ann Thomas CONTRIBUTOR Gil and Nancy Berman Ellen and Dean Boal Norma Ekstrand and Tom Campbell Martha Coffin Evans and Robert Trembly Gregory and Gladeane Lefferdink Harold and Joan Leinbach Robert and Francine Myers Gary and Beth Rauch Stephanie and Alan Rudy Douglas and Avlona Taylor Kenneth Pope and Christine Willis 22 |

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MEMBER David Beausang Shirley Carnahan Pauline and Noel Clark Catherine Cloutier Kenneth Dell Fran Evans Leslie and Merrill Glustrom Laima and Damon Haley Jeannette and David Hillery John Graham and Lorin Lear 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 Heather Van Dusen Derek Van Westrum Vince and Caroline Wayland ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo Betancourt Ellen Boal Joan McLean Braun John Davis Diane Dunn Clay Evans Michael Gallucci Lissy Garrison Laima Haley Daryl James, President Maryan Jaross Ruth Kahn Jerry Orten Louise Pearson Erika Randall Gregory Silvus Ellen Taxman Nicholas Vocatura

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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 Janet and David Robertson Takács Quartet SPONSOR Pamela Decker Marion Thurnauer and Alexander Trifunac PATRON Catharine Hawkins Foundation Thomas and Carol Cech Chris and Barbara Christoffersen Carol Lena Kovner Kathleen Sullivan John and Carson Taylor SUPPORTER Anonymous Anne Heinz and Ron Yaron Robert R. Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Maxine Mark 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 Marda Buchholz Noel and Pauline Clark Robert and Lenore Damrauer Jon and Liz Hinebauch Harold and Joan Leinbach Nancy and Paul Levitt Patricia and Robert Lisensky Cheryl Stevenson and James Cannon Lynn Streeter Randi and Anthony Stroh Patricia Thompson MEMBER Lois Abbott Maria and Jesse Aweida Ted and Ingrid Becher Kevin and Diana Bunnell Patricia Butler Shirley Carnahan Penny Chenery Helen Corbett Charlotte Corbridge Joann and Richard Crandall Barbara and Carl Diehl Carolyn and Don Etter Jean and Bob Fischer Marcia Geissinger and Neil Ashby Mary and Lloyd Gelman Steve Goldhaber and Mariana Goldhaber-Vertenstein Dianne and Kenneth Hackett David Hammer Bruce and Kyongguen Johnson Jennifer and Bob Kamper

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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Caryl and David Kassoy Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar Thomas and Gail Madden Caroline Malde Nancy and John Malville 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 Nurit and Jim Wolf Bill Wood M. Yanowitch


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Friends of the Eklund Opera Program E K L U N D

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 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 Theodore and Ruth Smith Lawrence and Ann Thomas CONTRIBUTOR Donna and Ken Barrow Jim and Judith Bowers Robert and Lenore Damrauer Walt and Mary Ruth Duncan Martha Coffin Evans and Robert Trembly David and Janet Hummer Harold and Joan Leinbach Burr Lloyd Dennis Peterson Dave and Ann Phillips Richard and Caroline Van Pelt Peter Wall Michael and Linda Weatherwax in memory of Allene Cash

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MEMBER Judith Auer and George Lawrence Shannon Bee Bob Burnham and Gail Promboin Allene Cash Ben and Gale Chidlaw Wallace and Beryl Clark Sara-Jane and William Cohen Peter and Joan Dawson Richard and Margaret Dillon Donald and Beverly Eklund Lloyd and Mary Gelman 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 Shauna and Kenneth Levinson 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 Byron and Sylvia Riley Juan and Alicia Rodriguez Elaine Schnabel Ruth Schoening Ruth Shanberge JoAnn Silverstein and Nevis Cook Helen Stone Walter Taylor Daniel Urist

GRANTS Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation

ABOUT THE EKLUND FAMILY OPERA PROGRAM

Recognizing the importance of the arts and live-vocal performance in an increasingly distracted world, long-time Boulder resident Paul Eklund made a generous gift in October to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment will help support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students.

From left, Paul Eklund, Director of Opera Leigh Holman and Dean of the College of Music Robert S. Shay


SPONSOR

BOULDER PHILHARMONIC ORCHESTRA MICHAEL BUTTERMAN, MUSIC DIRECTOR

Legends: The Spirit of Boulder 2014-2015 SEASON

Season Finale: Legendar� Vir��osit� Dvořák’s Cello Concer�o with Zuill Bailey SATURDAY, APRIL 25—7:30 PM MACKY AUDITORIUM, BOULDER

LIADOV The Enchanted Lake DVOŘÁK Cello Concerto with ZUILL BAILEY BARTÓK Concerto for Orchestra APR. 22, 7:30 PM - Free Café Phil Open Rehearsal at The Dairy Nature and myth intermingle in Liadov’s misty painting of The Enchanted Lake. Then cellist Zuill Bailey shares his moving interpretation of Dvořák’s well-loved Cello Concerto. Finally, revel in the talents of Boulder Phil musicians as they step to the fore in Bartók’s tour de force, the Concerto for Orchestra.

Photo: Lisa-Marie Mazzucco

www.BoulderPhil.org

Tickets start at $13; Students $5!

SPONSOR

303.449.1343 ext. 2

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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 Elliott 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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STAFF 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 Melinda Plett, Publications Coordinator Karen Schuster, Graphic Designer Rachel Dodson, Emily Scraggs, Helen Slivinski, Public Relations Assistants Margaret Romero, Production Assistant Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Coordinator Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, 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 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: 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 303-4928008 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 (near Macky) is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information about the best parking options for each venue, 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; no refunds. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket exchange 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 as soon as the situation arises. 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 be considerate of those around you and to refrain from wearing strong fragrances. • Can’t use your tickets? Return them to the CU Presents box office as a taxdeductible contribution prior to the beginning of the performance. • The University of Colorado Boulder is a smoke-free campus.


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1402 Pearl St. Boulder’s Pearl St. Mall 303-443-1084 www.hurdlesjewlery.com


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