music
experience the
2013–2014 Season Global performance. World-class entertainment. You have to be here.
B OU L D E R B A L L E T
A special treat on Mother’s Day! An enchanting tale of love and mischief set to a beautiful score by Leo Delibes. With life size dancing dolls, an eccentric inventor, colorful folk dances and romantic mishaps, this show is a delight for the entire family.
May 11, 2014 11 AM & 2 PM Boulder Theater, Downtown Boulder 303.786.7030 boulderballet.org
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Dr. Matthew Gawart Dr. Matthew Gawart Dr. Matthew Gawart has Dr. Matthew Gawartinis ageneral Boardextensive training Certified General Surgeon and surgery, including the latest has extensive training in the in minimally invasive latest minimally techniques. He isinvasive a member techniques. He is a member of the American Hernia of the American Hernia Society. Society.
Hernia Repair Specialists at Alpine Specialists at Alpine haveof Surgical have repairedSurgical thousands repaired thousands of hernias. hernias. Thanks to advancements in Thanks technology, to advancements in medical most hernias are medical technology, most are repaired using minimally invasive repaired usingtechniques. minimally invasive surgical surgical techniques. Fortunately for those of us Recognized by we US have Newsa in Colorado, &US World Report Alpine News and World Surgical offer Reportstrives Top to Doctor patients theright latest practicing here inin surgical care. Boulder.
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From the Executive Director Dear Friends, Spring is my favorite season here in Boulder. Where else can you ski in the morning, garden in the afternoon and enjoy a live performance in the evening? The weather may be unpredictable, but the richness of the arts in our community is consistently outstanding. As a patron of CU Presents, you are already familiar with the incredible variety of arts experiences on the CU-Boulder campus. This spring we continue our stellar season, including an enchanting production of the opera Hansel and Gretel, a professional theatrical production of Ray Bradbury’s classic Fahrenheit 451, spectacular chamber music from the Takács Quartet, as well as dozens of free performances featuring the up-and-coming students and talented faculty of the College of Music and the Department of Theater & Dance. This spring, we’re also a proud supporter of the inaugural Boulder Arts Week celebration from March 28 to April 6. This citywide event represents the first large-scale, inclusive celebration of our community’s vibrant arts and cultural offerings. Among the exciting offerings will be theater, dance and music performances, art walks, exhibitions, artist demonstrations and much more. And of course, with its host of rich artistic and cultural offerings, CU-Boulder will be a big part of Boulder Arts Week. The campus will feature exhibits at the CU Art Museum, a jazz showcase from the College of Music, a comic update of Plautus’ classical Roman play, The Rope, and to top it all off, a sizzling concert by the Eddie Palmieri Salsa Orchestra in Macky on Saturday, April 5. In other words, we think this is going to be a fantastic beginning for a new Boulder tradition. You can learn more at cupresents.org and boulderartsweek.org. We hope you’ll join us for this ongoing celebration of the arts at CU and in beautiful Boulder this spring. Warm regards,
Table of Contents
CU Presents Staff
6
CU Presents Ticket Policy
6
Theatre/Dance Season
8
Shakespeare Season Program
20 Center
Faculty Tuesdays
22
Artist Series Donors
24
Takács Quartet Donors
26
CU Opera Donors
28
Upcoming AS Presentations
30
CU Opera Ad
32
CU Presents Season Ad
34
College of Music Advisory Board James Austin, Interim Dean Christopher Brauchli Robert F. Bunting Jan Burton Colleen Conant Martha Coffin Evans Tyler M. Forman Jonathan R. Fox David W. Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree D. Hickman David G. Hummer Daryl K. James Gary S. Joiner Caryl F. Kassoy Robert Korenblat Thurston E. Manning Erma M. Mantey Joseph T. Negler Susan J. Olenwine Michele Ritter Rebecca J. Roser Steven K. Taniguchi Jeannie Thompson Jack Walker
6
light d cultural rt walks, mances, ist ymposia.
g
Joan McLean Braun Global performance. World-class entertainment. You have to be here.
ADVERTISING INFORMATION This program is produced for CU Presents by The Publishing House, a division of Colorado Word Works, Inc. Angie Flachman Johnson, Publisher Annette Allen, Art Director and Production Coordinator Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President For advertising information, call 303-428-9529 7380 Lowell Blvd., Westminster, CO 80030 www.coloradoartspubs.com
Everyone has a voice. Shouldn’t yours be heard? Don’t take your voice for granted. A weak, breathy, hoarse, scratchy, strained, or graveled voice often indicates a problem. Hoarseness lasting longer than a few weeks probably isn’t “laryngitis.” Dr. J. Michael King treats the full spectrum of ear, nose, and throat disorders. He is an otolaryngologist and a fellowship-trained laryngologist (voice specialist) providing care to singers, performers, and professional speakers. As one of only a few specialists in the Western region who performs minimally invasive office procedures, balloon sinuplasty, and laser surgery, Dr. King is always willing to take the time to explain options to help you decide what treatment is right for you.
J. Michael King, MD Services and treatments include• Microsurgery for vocal cord polyps or cysts • Laser surgery of the vocal cords • Voice restoration for vocal cord paralysis • Botox injections for spasmodic dysphonia • Chronic infections: ears, sinuses & tonsils • Allergy management and hearing testing • Treatments for pre-cancerous lesions or early throat cancers • Esophagoscopy screening & evaluation for reflux Offices in Broomfield & Golden 403 Summit Blvd., Suite 204 1030 Johnson Road, Suite 350 Broomfield, CO 80021 Golden, CO 80401
Conveniently located in Broomfield & Golden • 720-401-2139 • PeakENTandVoiceCenter.com
| www.cupresents.org
17 th St.
N
18
University Ave.
th St .
MACKY
Lot 380
Pleasant St. University Theatre Hellems Arts and Science
Education
MACKY AUDITORIUM STAFF Rudy Betancourt, Director Angela Janacek, Associate Director Sara Krumwiede, Assistant Director J. P. Osnes, Technical Director Rojana Savoye, House Manager Andreas Wion, Assistant House Manager
Event Lot
bike path
Joan McLean Braun, Executive Director Clay Evans, Public Relations Director Laima Haley, Marketing Director Myra Jackson, Programs and Scheduling Manager Nick Vocatura, Operations Director Margaret Romero, Production Assistant Daniel C. Leonard, Marketing and Public Relations Coordinator Karen Schuster, Graphic Designer Rachel Dodson, Public Relations Assistant Emily Scraggs, Public Relations Assistant Stephanie Doctor, Programs and Scheduling Assistant Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Coordinator Ciara Glasheen-Artem, Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Accounting Technician Ted Mulcahey, Piano Technician
University Theatre Loft Theatre Acting Studio Irey York Theatre
Colorado Avenue
ATLAS
UMC
Mary Rippon Theatre
Euclid Avenue Autopark
Imig Music Building
Lot
Euclid
2 0 4
UNIVERSITY CLUB (Box Office)
Br
oa
dw
18th St.
6 |
ay
Grusin Music Hall Chamber Hall Music Theatre
Lot 310
Program Book Editor/Designer: Myra Jackson • Cover Design: Karen Schuster PATRON INFORMATION
• The venues of CU Presents are fully accessible to patrons in wheelchairs and to those with other special needs and for their companions. Patrons needing accommodations for a disability should call the box office as early as possible at 303-492-8008.
Macky Auditorium (2000 seats)
• Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 at a cost of $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.
Music Theatre Center
Right Row L
L J
Gold Circle
Orch. 1
Row A
Row A
Row A
Center
Left
Stage
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Mary MARY Rippon RIPPON OUTDOOR THEATRE Outdoor Theatre STAGE (1000 seats)
16
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2
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15
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3
6
Dress Circle Orchestra Upper Circle
4
17
18
17
14
8
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B
7
(400 seats)
C
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Dress Circle Orchestra Upper Circle
University University Theatre Stage Theatre
6
A
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B
F E D
2
5
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I H G
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F E D
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W W 5 13 12 W W 16 15 14 13 12 11 10 9 8 18 17 16 7 19 1 20 22 2 23 24 14 13 12 11 10 18 17 16 15 25 9 8 20 19 7 2 21 23 2 24 25 26 17 16 15 14 13 12 11 10 9 19 18 8 7 21 20 2 2 23 24 25 15 14 13 12 11 10 26 18 17 16 9 8 27 20 19 7 1 2 22 23 24 15 14 13 12 11 10 25 18 17 16 9 8 26 0 19 7 27 21 2 22 23 24 6 15 14 13 12 11 10 25 18 17 1 9 8 26 0 19 7 21 2 27 22 23 24 17 16 15 14 13 12 11 10 25 9 8 9 18 20 1 26 7 21 27 22 23 14 13 12 11 10 5 1 6 24 1 9 8 8 17 25 19 1 7 26 20 6 21 27 22 3 3 1 1 4 2 1 1 2 1 10 15 7 16 9 8 24 18 1 7 19 25 6 20 26 21 22 23 24 25
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| | | |4 W | W 1 | | | | | | | | | | | 6| 5| 4 | | | 3| 2 | | |1 | | | | | | | | | | | | | | | |6 | 5| 4 | | | | 3| 2 | | | | | | | | |1 | | | | | | | | | | 6| 5 | | | | 4| 3 | | | 2| 1 | | | | | | | | | | | | | | | | | 6| 5 | | | 4| 3 | | | 2| | | | | | | | | | | | | | | | 1 | | 6| 5 | | | 4| 3 | | | | | | | | | | | | | 2| | | | |6 1 | | | |5 4 | | | 3| | | | | | | | | | | | 2 | |6 | | | |1 | | |5 4 | | | | | | | | | | | | 3| | | | 2 | | | |1 | | |5 4 | | | 3| | | | | | | | | | 2 | | | | | |1 | | |5 | | 4 | 3| | | 2 |1 | 10
Center 12 11 10 9 16 15 14 13 18 17 0 19 21 2
U 1 2 U 22 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 3 1 2 21 T 1 2 4 5 6 T 2 1 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 Left 1 7 3 22 2 14 13 12 11 10 9 8 7 6 5 4 3 S 1 2 4 5 6 8 9 10 S 21 20 19 18 17 16 15 2 3 7 1 3 7 11 22 11 4 15 14 13 12 11 10 9 8 7 6 8 12 17 16 5 4 5 9 R 1 2 4 5 6 8 9 10 12 13 1 R 19 18 3 2 13 0 0 2 6 2 1 1 3 1 14 13 12 11 10 9 8 7 3 14 7 7 22 2 11 4 11 16 15 14 6 5 4 15 8 8 5 18 17 12 15 4 3 12 Q 5 1 Q 9 1 6 0 19 9 16 2 2 13 2 1 6 16 13 2 10 7 1 10 13 12 11 10 9 8 7 3 22 2 14 3 7 16 15 14 14 11 4 6 5 8 11 4 18 17 15 8 4 3 5 P P 12 1 15 1 9 0 19 5 12 6 2 9 2 16 2 2 1 2 13 7 6 1 10 16 4 13 12 11 10 9 8 7 10 3 13 22 3 16 15 1 6 5 14 8 7 4 11 8 17 4 4 3 14 11 O 5 19 1 1 15 9 8 1 O 5 20 2 12 2 6 1 15 2 1 2 1 1 10 3 12 1 9 2 9 8 7 4 1 6 16 3 7 10 3 22 16 15 1 6 5 13 16 4 8 4 3 11 N 1 2 4 5 6 7 8 10 11 1 13 14 N 21 20 19 18 17 5 14 13 12 11 10 9 8 5 14 1 2 9 2 6 1 9 2 1 1 15 7 6 2 16 22 7 3 15 7 5 4 3 10 8 17 13 8 19 1 4 3 16 M 1 2 4 5 6 8 9 10 11 13 14 16 20 11 2 1 M 14 5 9 14 13 12 11 10 9 8 7 21 1 2 12 16 15 6 15 10 6 5 22 15 12 3 3 10 8 17 7 4 3 19 1 4 16 L 1 2 4 5 7 8 9 11 12 13 14 16 1 13 20 8 11 2 11 10 9 8 1 L 5 7 21 15 14 13 12 1 7 6 2 6 14 9 22 6 1 1 17 16 12 5 4 3 7 15 4 3 10 K 1 3 4 5 7 8 10 11 3 14 5 K 21 20 19 18 6 15 14 13 12 11 10 9 8 7 13 2 8 5 1 1 15 6 5 2 11 9 2 6 9 17 1 1 6 14 22 3 7 10 12 J 21 20 19 18 7 16 15 14 13 12 11 10 9 8 7 4 3 2 1 J 1 3 4 5 7 8 10 11 2 13 4 8 5 3 1 11 1 9 6 2 8 2 2 1 2 9 12 6 12 3 10 10 H 2 21 20 19 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 H 1 3 4 6 7 7 4 11 1 11 8 2 8 5 5 4 17 1 2 2 2 5 18 9 3 19 3 2 11 10 9 8 7 6 G 1 3 4 6 7 9 10 2 20 4 13 1 1 G 6 5 4 1 10 15 1 7 4 2 16 5 3 17 8 3 1 10 9 8 7 6 2 F 1 2 3 56 8 18 1 F 3 12 1 6 4 1 5 4 14 1 2 15 7 5 3 16 3 E 1 2 3 4 56 7 2 6 17 8 1 E 10 9 8 7 6 5 1 4 12 11 4 4 2 13 2 7 5 3 14 5 D 3 2 D 3 5 1 1 1 8 7 6 5 6 6 1 4 1 10 9 4 2 4 2 3 C 5 C 14 13 12 1 5 3 2 3 1 1 1 4 6 6 7 2 B 12 11 10 9 8 6 5 4 3 2 1 B 1 2 3 4 5 5 3 1 4 4 2 2 A A 5 3 3 1 Right
15
Wheelchair seating
CC
13
Balcony
FF EE DD
16
| | | | | | | |
GG 1
19
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1
14
| | | | | | | | | |
|
| 4| 3| 2|
| 6| 5 | 4| 3 | 2| 1 8| 7 | 6| 5 | 4| 3 | 2| 1 8| 7 | 6| 5 | 4| 3 | 2| 1 9| 8 | 7| 6 | 5| 4 | 3| 2 | 9| 8 |1 | 7| 6 | 5| 4 | 3| 2 |1 7
17
8
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13
AA
2
5
| | | | | | | | | | 9|
16 15 14 13 12 11 10 19 18 17
15
BB
| 23
| 47 | 56
18
CC
38
14
DD
| 29 |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
16
EE
110
0 21 2 22 23 17 16 15 14 13 12 11 10 24 9 20 19 18 25 1 26 22 2 23 24 16 15 14 13 12 11 10 25 9 19 18 17 26 27 0 21 2 28 22 23 24 17 16 15 14 13 12 11 10 25 20 19 18 26 21 27 3 22 4 2 5 2 6 2 17 16 15 14 13 12 11 8 2 1 9 1 27 10 0 28 21 2 22 29 23 24 25 26 27 28 29
15
FF
6
• The University of Colorado Boulder is a smoke-free campus.
14
GG
7
• Can’t use your tickets? Turn your tickets back to the CU Presents Box Office as a tax deductible contribution prior to the beginning of the performance.
Music Theatre (250 seats)
Grusin Music Hall (500 seats)
• All programs, artists, and prices are subject to change.
• Patrons are encouraged to be considerate of those around you and to refrain from wearing strong fragrances.
Orch. 1
Right
• Photographic and recording devices are prohibited.
• Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children.
Row L
Row I
• Food and beverages are permitted in the seating areas of Macky Auditorium. Food and beverages are not premitted in the seating areas of all other campus theaters.
• All sales are final, no refunds. Subscribers may exchane 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.
Left
L J
POLI-SCI DURING THE WEEK. SCI-FI ON THE WEEKEND. Explore a range of credit and non-credit courses that will challenge whatever you believe.
humor | www.cupresents.org
8 |
Gustav Holst’s
The Planets
University Symphony Orchestra, University Choir, and University Singers Tuesday, April 29, 7:30 p.m. Macky Auditorium Tickets start at $10
cu presen t s.org | 303-492-8008
Holst’s beloved Romantic suite explores the myth and magic of the Solar System and the gods of Rome. The program will be accompanied by awe-inspiring, multi-media NASA imagery of Mercury, Venus, Mars, Jupiter, Saturn, Uranus and Neptune.
Global performance. World-class entertainment. You have to be here.
Theatre & Dance University of Colorado Boulder
Coming up next... UBUNTU AFRICAN DANCE FESTIVAL
April 19 | Glenn Miller Ballroom Mary Zimmerman’s
METAMORPHOSES
April 11-19 | University Theatre
TICKETS NOW ON SALE 303-492-8008 www.colorado.edu/theatrdance
| 303-492-8008 | 9
Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community. We’re proud to sponsor the University of Colorado College of Music.
For subscription information call 303.444.3444 or visit DailyCamera.com.
| www.cupresents.org
10 |
HOME + GARDEN Well-Traveled Furnishings
Frostproof Garden Pots Lamps | Statuary | Rugs Antique and Contemporary Furniture Pub House
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Every Journey Begins with a Single Step. Every gift makes a difference! Our concerts and productions depend on private donations from audience members like you. We encourage you to use the envelope in the center of this program to make a gift that will help us continue to bring global performance and world class entertainment to Boulder! Simply give your envelope to an usher or mail it back to us. Donations can also be made online at cupresents.org or by calling 303-735-6070. Thank-you for your support!
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Infant•Toddler•Preschool•Kindergarten
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At Frasier Meadows, each of our residents has a unique story to tell — just like you. Ellen has great memories from her days as a concert cellist. Come join our community and add your story to those of the other vibrant residents here. Learn more about our campus and our continuum of care at frasiermeadows.org, or call 303-499-4888.
18 |
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ARAPAHOE ANIMAL HOSPITAL Serving Pets and our Community Since 1954 FULL-SERVICE VETERINARY CARE SMALL ANIMALS~BIRDS~EXOTICS PET BOARDING DOGGIE DAY CARE DAY & EVENING HOURS ~ 7 DAYS/WEEK with TWO Convenient Locations:
WHISPER “roundhouse”
Main Hospital
because what we do is illegal in some states
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(behind Boulder’s Dinner Theatre)
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Come visit our distillery speakeasy bar and enjoy a craft cocktail made with our award-winning spirits.
Pub House
303-442-7033
Downtown Hospital 1730 15th Street
(between Arapahoe & Canyon)
Boulder, CO 80302
Get 2-for-1
visit our
cocktails
website for
with your performance ticket stub
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hours, tours, and specials.
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www.arapahoeanimalhospital.com
5311 western ave. ste 180, boulder
Let us tell you about the birds and the bees (and your trees) Caring for the urban forest is our mission — we seek to always improve our environment. Even when managing an epidemic such as Emerald Ash Borer, we diligently look for safe, effective, and organic solutions. Get in touch with us and we’ll send out a certified arborist to inspect your trees and make recommendations that make sense for the health of you and your property.
Pest and Disease Diagnosis and Treatment Organic Treatment for Emerald Ash Borer Tree Pruning • Shrub Pruning • Tree Removal Stump Grinding
wehearttrees.com • 303.554.7035
| 303-492-8008 | 19
The Tempest The Merry Wives of Windsor I Hate Hamlet Henry IV: Part 1 Henry IV: Part 2 June 6 - August 10, 2014 tickets are now on sale
303-492-8008 Photo: Zachary Andrews
COLORADOSHAKES.ORG
The best in performing arts
now at your fingertips Purchase tickets, watch videos, read the news all from your mobile device. The CU Presents mobile app is now available for your Android or Apple device. Just search “CU Presents” in your app store.
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stop by our lighting showroom
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EDWARD DUSINBERRE, violin KÁROLY SCHRANZ, violin GERALDINE WALTHER, viola ANDRÁS FEJÉR, cello with ROBERT McDONALD, piano PROGRAM Quartet No. 2 in A Minor I. Moderato II. Allegro molto capriccioso III. Lento
Béla Bartók (1881-1945)
Piano Sonata in A-flat Major, Opus 110 Moderato cantabile molto espressivo Scherzo: Allegro molto Adagio ma non troppo. Fuga: Allegro ma non troppo Robert McDonald, piano
Ludwig van Beethoven (1770-1827)
Intermission Piano Quartet in G Minor, Opus 25 Allegro Intermezzo (Allegro ma non troppo) Andante con moto Rondo alla Zingarese Robert McDonald, piano
Johannes Brahms (1833-1897)
T A K Á C S Q U A R T E T, A p r i l 2 7 & 2 8 , 2 0 1 4
THE TAKÁCS QUARTET
PROGRAM NOTES
T A K Á C S Q U A R T E T, A p r i l 2 7 & 2 8 , 2 0 1 4
String Quartet No. 2 in A Minor
Béla Bartók
As World War I spread across the continent, Bartók’s perennial poor health prevented him from being thrust into combat. Instead, he and his good friend and colleague Zoltán Kodály were assigned to visit military camps, where their job was to collect traditional Hungarian folk songs from the troops. A nice alternative—and one that fit neatly into his pre-war activities. A dedicated ethnomusicologist (along with Kodály), Bartók had traveled throughout the region, lugging his recording equipment into villages in Transylvania, Bulgaria and as far away as North Africa, to collect and notate the traditional music of Eastern Europe. The experience was life altering, revealing fresh musical languages that broke many of the rules that had been drilled into him at the Budapest Academy. Suddenly, there were new scales, new harmonies and new rhythms that would soon find their way into his music. The outbreak of war, naturally, had put an end to his travels, sending him to the town of Rákoskeresztúr, not far from Budapest, where he felt safe enough to continue composing. It was there that he wrote the ballet, The Wooden Prince (1914-16) and the Second String Quartet (1915-17). The length of time needed to complete both suggests that the creative process was arduous, perhaps because Bartók was methodically searching for his musical voice. Those two works still carried faint traces of Debussy’s post-romantic influence, though the quartet’s vivacious Allegro breaks free of that, in a delicious mixture of various Hungarian dance styles and rhythms. In the context of the compositions that would follow, this quartet (premiered in March, 1918) points the way to Bartók’s mature writing style. As with most of his instrumental music, there is no clear-cut program here—although Kodály viewed the work’s three movements as “life episodes,” labeling the Moderato a description of “peaceful life.” And peaceful it is, particularly in its ending. The music is relatively easy to follow, as it unfolds from the violin’s distinctive opening phrase, commented on by the other instruments before transitioning into a more tranquil theme. In keeping with the traditions of sonata form, there is a pause midway through, and the movement’s opening is then recapitulated. The uninhibited second movement carries traces of the folk tunes Bartók collected in various Hungarian villages, as well as in North Africa—all introduced in a kind of medley. Quiet introspection returns in the final movement, identified by Kodály as “suffering.” Indeed there is an inescapable sadness in this free-flowing music, which ends with whispered pizzicatos from the viola and cello.
Piano Sonata No. 31 in A-flat, Opus 110
Ludwig van Beethoven
Even though Beethoven had emerged victorious from the drawn-out, distracting custody battle for his nephew Karl in 1820, the years immediately following that dry period were similarly devoid of completed works. Perhaps it was due to ill health, but in any case, the Opus 109 Piano Sonata was the sole major piece published in 1820, followed the succeeding year by the Sonata, Opus 110— and practically nothing else (though work on the Ninth Symphony and Missa Solemnis was ongoing). His final Piano Sonata, Opus 111, was finished in 1822, completing the celestial trio of sonatas that represent, in retrospect, a summing up of Beethoven’s thoughts on the genre. But were these intended as such? After all, his glorious 32 Sonatas had been a central part of his composing life for a period of 25 years, starting with the three of Opus 2 in 1796. Though he did continue to write for the piano after Opus 111, publishing several Bagatelles and the monumental Diabelli Variations, it’s possible that he had become more focused on the string quartet (thanks to a commission in late 1822 from the Russian prince Nicholas Galitzin). As with so much of his creative and personal life, we are left to try and piece together how—and for whom—the final sonatas were written. Beethoven scholars have relied on bits of evidence from sketchbooks, letters, conversation books and frustratingly unreliable reports from his friends and biographers. A curious back-story to Opus 110’s dedication emerged, underscoring the confusions and misunderstandings that dotted the composer’s personal life—while reminding us of his fickle nature with friends. Originally, the Sonata’s dedicatee was his pupil Ferdinand Ries—until Beethoven discovered a concerto by Ries that suggested acts of plagiarism. So, he switched to his dear friend (possibly his “Immortal Beloved”) Antonia Brentano. However, the revised dedication did not reach his publisher in time, and so the work was printed without one. What today seems like a little piece of flattery tacked onto the top of a published score likely carried great importance back then—particularly when one’s name is to be forever attached to a work by the great Beethoven. All that said, it’s the music that matters. And in this brilliant sonata, the music demands our full attention. Though it’s officially in three movements, it’s really in four, with the fugue growing out of the emotionally charged Adagio. However you break it down, Opus 110 seems all of one piece, with each change of mood emerging in crystal clarity out of the music that precedes it. Consider the contrast between the gentle opening Moderato—with the instruction con amabilità (amiably) —and the furious, rhythmically unpredictable Scherzo that follows. Knowing Beethoven’s mercurial nature, it seems natural, inevitable even. In its ABA construction, the second movement conforms to the standard design of the Scherzo, reminding us that, for all his ease in breaking rules, Beethoven retained deep respect for music’s imposed disciplines. Still, one is unprepared for a series of seven chords that sets up the Adagio. Its simple opening
Piano Quartet in G Minor, Opus 25
Johannes Brahms
As their opus numbers suggest, Brahms’ first two piano quartets, Opus 25 and 26, were brought to life as a pair. Actually, the third Piano Quartet in C minor was also part of that little grouping, having been originally sketched out just prior to the others, but then revised and reworked years later and published as Opus 60. Brahms had a habit of producing pairs of works in close proximity: the string sextets, the overtures, the first two symphonies, etc. Not a bad plan, since it permitted the composer to take two contrasting views of the genre in question—as is clearly heard in the jolly Academic Festival Overture and its darker counterpart, the Tragic Overture. Brahms worked on the first two Piano Quartets during the late 1850s and completed the first in 1861 in the idyllic suburb of Hamm, near Hamburg. As was his habit, Brahms submitted the completed G-minor score to his dear friends Clara Schumann and the violinist Joseph
Joachim, both of whom expressed some reservations, particularly with the opening movement’s brooding quality. Clara, however, was at the keyboard when the work was premiered in Hamburg in November 1861. Brahms seemed quite proud of the piece, since he used it to introduce himself to Vienna not long after the premiere, serving as pianist, to boot. (The work later impressed Arnold Schoenberg, who orchestrated it in 1937.) Robert and Clara Schumann maintained a deep friendship with Brahms, as is well-known, and Clara’s impressive talent and technique must surely have influenced the composition of the three Piano Quartets, as did the tragic death of Robert in 1856. The latter’s passing deeply affected Brahms, and it is that event that may have found voice in the G-minor Quartet’s opening pages. A simple four-note motif provides the backbone for the Allegro, its somber mood broken by two rhapsodic themes, introduced by the viola and by unison violin and viola. The darkly hued Intermezzo is launched with muted violin and a consistent, quietly pulsating accompaniment, all standing in stark contrast to the lively (Animato) Trio section. In the Andante, Brahms finally turns to a major key (E-flat), offering a sweeping melody that unexpectedly leads into a militaristic piano tune, complete with snare-drum imitation from the strings. Just as this program began with a medley of Hungarian-flavored dances in the Bartók Second Quartet, it concludes with another Gypsy-flavored romp, stemming from Brahms’ lifelong fondness for that uninhibited music. In his early days, traveling around with virtuoso violinist Edmund Remenyi, Brahms fell under the intoxicating sway of the joyous music he discovered in Gypsy camps. The Piano Quartet’s finale, a playful Rondo alla Zingarese, seems to harken back to those days. Here is music that must have been as much fun to write as it is to hear (and, no doubt, to perform!). —Marc Shulgold
Guest Artist ROBERT McDONALD
Photo: Sheila Rock
Mr. McDonald has toured extensively as a soloist and chamber musician throughout the United States, Europe, Asia, and South America. He has performed with major orchestras in the United States and was the recital partner for many years to Isaac Stern and other distinguished instrumentalists. He has participated in the Marlboro, Casals, and Luzerne Festivals, the Chamber Music Society at Lincoln Center, and has broadcasted for BBC Television worldwide. He has appeared with the Takács, Vermeer, Juilliard, Brentano, Borromeo, American, Shanghai, and St. Lawrence string quartets as well
as with Musicians from Marlboro. His discography includes recordings for Sony Classical, Bridge, Vox, Musical Heritage Society, ASV, and CRI. Mr. McDonald’s prizes include the Gold Medal at the Busoni International Piano Competition, the top prize at the William Kapell International Competition and the Deutsche Schallplatten Critics Award. His teachers include Theodore Rehl, Seymour Lipkin, Rudolf Serkin, Mieczyslaw Horszowski, Beveridge Webster, and Gary Graffman. He holds degrees from Lawrence University, the Curtis Institute of Music, the Juilliard School, and the Manhattan School of Music. A member of the piano faculty at the Juilliard School since 1999, Mr. McDonald joined the faculty of the Curtis Institute of Music in 2007, where he holds the Penelope P. Watkins Chair in Piano Studies. During the summer, he is the artistic director of the Taos School of Music and Chamber Music Festival in New Mexico.
T A K Á C S Q U A R T E T, A p r i l 2 7 & 2 8 , 2 0 1 4
theme soon gives way to a “weeping” motif, the notes expressively repeating as they lead to a new, mournful minor-key melody (Arioso dolente, “sorrowful song”) that is wrapped in a cloak of sadness. What grows out of that is a tribute to the art of fugue, an innocent ascending theme that unfolds in pure, Baroque-like counterpoint. Rather than build up to a grand finale, Beethoven instead returns to the “weeping” theme of the Adagio. An extraordinary series of 10 ever-growing chords then leads to a reprise of the fugue theme, this time inverted (marked as such by Beethoven, in case we hadn’t noticed), leading to a joyous coda. In his penultimate Sonata, the standard workings of the genre are re-examined, to fit the composer’s emotionally powerful message. Along the way are Beethoven’s notations indicating a “coming to life again.” In the words of composer Vincent d’Indy, this is “Will, asserting itself against the forces of annihilation ... the resurrection!”
THE TAKÁCS QUARTET QUARTET IN RESIDENCE • UNIVERSITY OF COLORADO BOULDER
The University of Colorado welcomes applications to one of the most vibrant chamber music programs in the country. With exciting new scholarship opportunities, supported by the Takács Society and the Starling Foundation, the Takács Quartet is accepting students for individual study, and one pre-formed quartet to fill the Graduate Quartet Residency. Distinguished members of the faculty include:
Lina Bahn, violin
Paul Erhard, bass
Charles Wetherbee, violin
Nicolò Spera, guitar
Erika Eckert, viola
Janet Harriman, harp
Judith Glyde, cello
Margaret Berg, music education, strings
for more information about string chamber music at cu and the graduate quartet program, please contact:
Judith Glyde, Chair, String Faculty 301 UCB, College of Music Boulder, Colorado 80309 Judith.Glyde@colorado.edu • 303.492.5921
music.colorado.edu • takacsquartet.com
THE TAKÁCS QUARTET
Geraldine Walther, viola Károly Schranz, violin Edward Dusinberre, violin András Fejér, cello
DEGREE PROGRAMS: • Bachelor of Music • Master of Music • Doctor of Musical Arts • Professional Certificate in String Quartet Performance
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New Vista High School opened in ‘93 with a mission “to break the mold” of conventional secondary school practices. We provide rigorous learning in a supportive culture. Our curriculum is designed to cultivate the unique talents and interests of students who are ready to be more responsible for their own learning. We give students choices in the programs they take and class work. In exchange, we require that all students do high quality work and earn a grade of A or B in core classes.
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2013-2014 Faculty Tuesdays recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building. All performances are free and open to the public.
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ARTIST SERIES Mission Statement
The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide world-class performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.
DONORS CONCERT SPONSORS Colorado Public Radio Daily Camera Mark H. Carson and Associates, P.C. Emerson Process/MicroMotion Hotel Boulderado Hurdle’s Jewelry Friends of the Artist Series James and Associates, LLC KUNC KUVO Roser Visiting Artist Fund Western States Arts Federation
PARTNER IN THE ARTS Boulder Weekly Woodsongs Flowers in Bloom Liquor Mart Sage and Savory
BENEFACTOR
Gregory Silvus and Melanie Miller
SPONSOR
Anonymous Dick and Diane Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch Ellen and Joshua Taxman
PATRON
Janet Ackermann and Scott Wiesner Joan McLean Braun Mark and Margaret Carson Chris and Barbara Christoffersen Olivia Edwards Kahleen and Tony Flippo Suzanne and David Hoover Robert and Sandra McCalmon
SUPPORTER
Mark H. Carson
Roser Visiting Artist Fund
Anonymous Michael and Carol Gallucci Doree and Jerry Hickman Susan and Jon Lounsbury Heidi and Jerry Lynch Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Daniel and Boyce Sher Theodore and Ruth Smith Lawrence and Ann Brennan Thomas
CONTRIBUTOR
Thank you to the City and County of Broomfield and the 1st Bank Center for providing advertising space on their LED sign on US 36.
FRIENDS OF THE ARTIST SERIES
A Friend Gil and Nancy Berman Ellen and Dean Boal Norma Ekstrand and Tom Campbell Center Copy Boulder, Inc. Martha Coffin Evans Charles and Martha Everill Judy Gould Myra Jackson Kathryn Keller and William Wedum Gregory and Gladeane Lefferdink
Harold and Joan Leinbach Jeff and Janet Martin Judy and Alan Megibow Sally Powell-Ashby amd John Ashby Elizabeth Rauch Luana and Paul Rubin Douglas Taylor
MEMBER David Beausang Geraldine Boone Chris and Margot Brauchli Otto and Ruth Buhler Shirley Carnahan Pauline and Noel Clark Cathy Cloutier Paul Cohen Sandra and Lawrence Cohn Terry and Colleen Conant Sylvia and Burt Darmour Douglas and Rita Dart Kenneth and Sally Dell Germaine Eagleton Fran Evans Leslie and Merrill Glustrom Jo and David Hill Larry and Barbara Jones Isabel Lee Julia Lee Judah and Alice Levine Kay and Paul McCormick Janet and J. Hunter McDaniel Robert and Marilyn Peltzer Kim and Richard Plumridge Randall Kenneth Rutsch Ruth Shanberge Mary and Andrew Skumanich Courtland and Carolyn Spicer Zoe Stivers Randi and Anthony Stroh Ellen and Adam Tschida Geoffrey Tyndall Derek Van Westrum Vince and Caroline Wayland
ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo J. Betancourt Ellen T. Boal Joan McLean Braun John S. Davis Diane Dunn Michael A. Gallucci Lissy Garrson Laima K. Haley Daryl K. James, President Maryan K. Jaross Ruth C. Kahn Kathryn S. Keller Jerry C. M. Orten Louise Pearson Erika Randall Gregory L. Silvus Ellen Taxman Nicholas J. Vocatura
FOUNDATIONS AND MATCHING GIFTS Janet E. Ackermann and Scott R. Wiesner Charitable Fund Paul Bechtner Foundation Carson-Pfafflin Family Foundation A. G. Edwards & Sons, Inc. National Endowment for the Arts Newton Family Fund Western States Arts Federation Tour West Polk Family Charitable Fund George F. Reynolds Endowment Scripps Company Make all gifts payable to the University of Colorado Foundation and mail to ARTIST SERIES, 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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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.
ENDOWMENT GIFTS
MEMBER
Takács Scholarship in Memory of Fay Shwayder Elizabeth Brent Duncan Campbell Harry Campbell Margaret and Edward Campbell Norma Johnson Gary and Judy Judd Jonathan Zeschin, Essential Advisors
Randi and Anthony Stroh Rita and Lawrence Weiss Lois Abbott Berkley Tague James and Lena Wockenfuss Neil and Marcia Geissinger Ashby Betty Lou Thacker Jim and Nurit Wolf Maria and Jesse Aweida Patricia Thompson Bill Woo Harold and Ingrid Becher Arthur and Laurie Travers Elizabeth Brent Mary and Peter Van Etten In Memory of Fay Shwayder Betty Van Zandt Marda Buchholz Thomas VanZandt Kevin and Diana Bunnell Christopher and Leanne Walther Patricia Butler Gordon and Lois Ward Shirley Carnahan Penny Chenery Noel and Pauline Clark Richard Collins and Judith Reid Helen Corbett Charlotte Corbridge Clara Deser GRUSIN MUSIC HALL CHAIR PURCHASES Barbara and Carl Diehl Carolyn and Don Etter Jean and Bob Fischer Rebecca Roser Jane Byers William and Ann Ford In Memory of Pearl and Charles (Chuck) Byers Lloyd and Mary Gelaman Mel Pedgrift Frances Dahlberg Steve Goldhaver and Mariana Vertenstein In Honor of Professor Madeline Day Ken and Dianne Hackett David Korevaar Madeline Mahr Day Richard and Catharine Harris Edith Stevens Patsy Lynch Wood Russell and Ann Hayes In Memory of L. E. Gatterer Jon and Liz Hinebauch Richard C. McLean Larry Gatterer Bruce and Kyongguen Johnson Theory Department Charlene Gatterer Jennifer and Bob Kamper In Honor of Lloyd and Mary Gelman Caryl and David Kassoy Dean Daniel Sher Doree Hickman Mireille Key Travis Vardell Doree Hickman Alice and Judah Levine Kenneth A. Vardell Jerry Hickman Albert and Virginia Lundell George Lichter Heidi and Jerry Lynch Chair named In Memory of George Lichter Family Caroline Malde Joyce Gellhorn Alice and Judah Levine John and Nancy Malville Anonymous In Memory of J. Richard and Marjorie McIntosh Linda Boley Joyce Gellhorn Josef and Sara Michl Alice and William Bradley Maxine Mark Sandra Moriarty Ted Engelmann In Memory of Joanie Oram Arthur and Madeline Estin Thomas R. Mark Sue and James Palmer Janice Harvey Maxine Mark Faith and Roy Peterson Jennifer Kamper Kris McCusker Julie and Wayne Phillips Jane and Roger Larson In Memory of Antonia and Timothy Piwonka-Corle Alice Levine Phyllis Sweetland Arthur and Ina Rifkin Ruby Marr McCusker Joanna and Mark Rosenblum Judi Oser Lise Menn Ruth Shanberge Julie Phillips Valorie Mooney In Memory of Karen McMurry Barbara Roach Valorie Mooney Ruth Shanberge Margie Warsavage William Mooney In Memory of Carol Seideman Mutsumi Moteki Mary and Andrew Skumanich In Memory of Hugh and If you would like to name a seat Todd and Gretchen Sliker Juanita Kirtley in Grusin Music Hall, please call Gretje Sloan the College of Music Carol and Art Smoot Jan and Charles Squier Development Office at Shirley and Mark Steele 303-735-6070. Helen Stone Make all gifts payable to the University of Colorado Foundation and mail to
BENEFACTOR
Albert and Nancy Boggess Chris and Barbara Christoffersen Norma Johnson In Memory of Fay Shwayder The Takács Quartet
SPONSOR
Janet and David Robertson Marion Thurnauer and Alexander Trifunac
PATRON
Thomas and Carol Cech Catharine Hawkins Foundation Carol Lena Kovner Wilmington Trust Thurston Manning
SUPPORTER Anne Heinz and Ran Yaron Patricia and William Johnson Robert Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Newton Family Fund, Inc. Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter John and Carson Taylor Lawrence and Ann Brennan Thomas
CONTRIBUTOR
Stanley and Virginia Boucher William and Alice Bradley Christopher and Margot Brauchli Pamela and Barry Gatz Harold and Joan Leinbach Paul and Nancy Levitt Patricia and Robert Lisensky Annyce Mayer Lise Menn Susan and David Seitz Patricia Thompson Alice Dodge Wallace
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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Watershed School is an uncommon school that fosters academic excellence and upstanding character through an innovative, rigorous, and effective experiential college prep curriculum.
Pub House email info@watershedschool.org or call (303) 440-7520 www.watershedschool.org
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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.
CORPORATE, FOUNDATIONS, AND ENDOWMENT SUPPORT Corporate and Foundation Support Academy Retirement Community Aetna Foundation, Inc. Blackhawk Trust Boulder Valley Rotary Club Colorado Academy of Lifelong Learning Denver Lyric Opera Guild Frasca Food & Wine JAS Ventures Polk Family Charitable Fund Louis and Harold Price Foundation The Schramm Foundation The following have permanent endowments established in recognition of CU Opera, its donors and its students. Nancy and Ted Anderson Music Awards Daryl and Lauren Boyle Music Theater Scholarship Daryl and Lauren Boyle Voice Scholarship DeWitt and Billie Marie Brennan Memorial Music Scholarship Berton Coffin Graduate Scholarship in Voice Berton Coffin Fellowship Fund Viola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. Norblom Wilma and Perry Louis Cunningham Scholarship in Voice Barbara M. Doscher Scholarship Wallace F. Fiske Performance Awards Ann and Gordon Getty Foundation Dennis Jackson Opera Scholarship Dale R. Johnson Opera Scholarship Lacy CU Opera Endowment Ed and Kay McDowell Opera Endowment Claudia Boettcher Merthan Vocal Scholarship Trudi Mielziner Graduate Opera Scholarship Charlotte Orr Reid Memorial Vocal Scholarship Gregory Philip Ranno Excellence in Music Scholarship Anthony and Dorothy Riddle Lyric Theater Performance Prize William Earl Rose, Sr. Scholarship Fund Galen & Ada Belle Files Spencer Foundation Beth and Bill Suitts CU Opera Endowment Howard B. Waltz Music Scholarship Paula Marie and H. Rolan Zick Endowment
BENEFACTOR
CONTRIBUTOR
Paul Eklund Bob Graham Louis and Harold Price Foundation Ann Oglesby and Denny Brown Galen & Ada Belle Spencer Foundation Academy Retirement Community The Schramm Foundation
A Friend Jason and Elizabeth Baldwin Colorado Academy of Lifelong Learning Martha Coffin Evans Jeanine Forman-Ham Lloyd and Mary Gelman Curtis and Mary Hill Myra Jackson Harold and Joan Leinbach Burr Lloyd Robert and Patricia Meyers David and Ann Phillips Daniel and Boyce Sher Peter Wall
SPONSOR Denver Lyric Opera Guild
PATRON Eleanor Caulkins Chris and Barbara Christoffersen Betsy and Albert Hand Robert and Mikee Kapelke Dorothy Riddle Christopher and Kimberly Riddle Riddle Family Foundation Rotary Club of Denver Foundation Alan and Martha Stormo
SUPPORTER Mark and Margaret Carson Walter and Mary-Ruth Duncan Jo and David Hill James and Sally Kneser Theodore and Ruth Smith Lawrence and Ann Brennan Thomas Elizabeth and George Ulbrick
MEMBER Judith Auer and George Lawrence James and Judith Bowers Allene Cash Wallace and Beryl Clark Stephen Dilts J. Michael Dorsey Ellen and John Gille Steve Goldhaber and Mariana Vertenstein Judy Gould Janet Hanley Barbara and John Hill Pam Jones and Mark Bianchi Ben and Gale Chidlaw Richard and Margaret Dillon Susan and Albin Kolwicz Marion and Frank Kreith C. Nicholas and Mollie Lee In Memory of Wayne B. Daniels Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce and Jeanette Mackenzie Janet and Scott Martin In Memory of Karen McMurry Marian Matheson Byron and Catharine McCalmon Denise McCleary and Paul Von Behren Richard and Donna Meckley Marilyn Newsom In Memory of Mildred and Berton Coffin
Margaret Oakes Robert and Marilyn Peltzer Dennis Peterson Gail Promboin and Robert Burnham Alicia and Juan Rodriguez Elaine Schnabel Andrew and Mary Skumanich Joyce Thurmer In Memory of Karen McMurry Richard and Caroline Van Pelt
VOCAL ADVISORY BOARD Lawrence H. Anderson Stephen Bruns Nicholas R. Carthy Martha Coffin Evans, chair Lissy Garrison Albert Hand Leigh K. Holman Glenny LeGendre Kathleen M. Ness Shirley J. Riggs Stephanie Rudy Ashraf Sewailam Reed F. Williams
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FOLLOW THE REGION’S PERFORMING ARTS BEFORE, DURING AND AFTER THE PERFORMANCE
COLORADO CLEAR MIND Connect with The Center Stage Club to see calendar listings of the greatest Front Range performing arts offerings.
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Rigorous academics. Compelling theatre. World travel.
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Be a part of the inaugural
Boulder Arts Week March 28–April 6
This citywide event will highlight Boulder’s distinguished arts and cultural programming and will include art walks, First Friday, exhibitions, performances, dance, music, theater, artist demonstrations, lectures, and symposia. Find all the details at: boulderartsweek.org
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CU OPERA
G
reat repertoire, lavish scenery, amazing voices, and outstanding value— these are the hallmarks of CU Opera. Director Leigh Holman and Music Director Nicholas Carthy bring you the best of classical and contemporary opera in three fascinating productions each season and in CU New Opera Workshop in the summer.
Side by Side by Sondheim (sung in English) by Stephen Sondheim More than a revue of the incomparable Broadway composer’s work, Side by Side by Sondheim features his bestknown tunes alongside narration exploring the context of each piece. April 24, 7:30 p.m. April 25, 7:30 p.m. April 26, 7:30 p.m. April 27, 2 p.m. Music Theatre
CU New Opera Workshop CU NOW will present the world premiere of The Master, an opera by composer Alberto Caruso with a libretto by noted Irish author Colm Toibin from his acclaimed novel of the same name. Performances will be held on the CU Boulder campus in the ATLAS Black Box Theater on June 13 and 14 at 7:30 p.m. On June 14, audiences are invited to attend a live recording session of the entire work. The production will be directed by Ron Daniels (Royal Shakespeare Theater, American Repertory Theater) and will feature students from the CU College of Music. CU New Opera Workshop is a three-week event, held every summer, giving advanced student singers the opportunity to work with professional composers,playwrights and directors in creating new works for the musical stage. CU NOW Composer Fellows Institute is an exciting, new initiative linking select CU student-composers with composer Alberto Caruso, the CU Composition faculty and the CU NOW musical and direction staff to create new vocal works for the stage. The Fellows’ scenes will be featured on the June 8 concert. June 8, 2 p.m. Concert: sneak-peek scene from The Master in addition to vocal works by CU NOW composers from the past five years—Daniel Kellogg, Robert Aldridge, Herschel Garfein, Kirk Mechem, Lori Laitman and Libby Larsen. June 13, 7:30 p.m. June 14, 7:30 p.m. June 15, 2 p.m. ATLAS Black Box Theatre All events are free and open to the public on a first come, first served basis and will be held in the Black Box Theater in the ATLAS building on the CU Boulder Campus.
303.492.8008
www.cupresents.org
| 303-492-8008 | 37
3111 Walnut Street Boulder, CO 80301 303.449.3177
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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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3/19 Fahrenheit 451 by Aquila Theatre 4/5 Eddie Palmieri Salsa Orchestra Plus CU Opera, TakĂĄcs Quartet, and CU Symphony Orchestra
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303-492-8008
2013–2014 Season
Global performance. World-class entertainment. You have to be here.
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