cu presents magazine takács spring 2015, april 26-27, 2015
DESCRIPTION
In-Theater magazine produced for CU College of MusicTRANSCRIPT
Global performance. World-class entertainment.You have to be here.
2014–2015 Season
Be engaged. Be inspired. Be here.
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THEBOULDERBALLET
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Carnival of the AnimalsA treat for the whole family on Mother’s Day!
May 10, 2015Boulder Theater303.786.7030
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y Fogarty. Photo by Keith Bobo
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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
This program is produced for CU Presents
by The Publishing House, Westminster, CO.
Angie Flachman Johnson, PublisherAnnette Allen, Art Director &
Production CoordinatorStacey Krull, Graphic Design & Layout
Wilbur E. Flachman, President
Clay Evans, CU Presents Editor
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2013/2014 highlights
South Pacific in Concert • Big RiverYesterday & Today, the All-Request Beatles Tribute
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Gray and graceful, Merchant pleases fans old and new with symphony collaborationsNatalie 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.
“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.
“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
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COURTESY NATALIE MERCHANT
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Natalie Merchant with the CU Symphony Orchestra is generously co-sponsored by:
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2014-15 Calendar
The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky
Auditorium. For detailed information and tickets, go to cupresents.org.
NATALIE MERCHANT with the UNIVERSITY SYMPHONY ORCHESTRAThursday, 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 TUTTEBy Wolfgang Amadeus MozartMarch 13-15, Macky AuditoriumMozart’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 MonteverdiApril 23-26 Music Theatre, Imig Music BuildingMonteverdi’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.
E K L U N D
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.
MUCH ADO ABOUT NOTHINGJune 5-Aug. 9Mary Rippon Outdoor TheatreDirected by Jim Helsinger, Orlando Shakespeare TheaterRomantic, raucous and razor-sharp, the Hamlet of Shakespeare comedies strikes hilarious chords even as it reveals timeless truths about love, change and acceptance. The men have returned victorious from war, but the merry sparring — and sparks — between Benedick the stubborn bachelor and witty, self-assured Beatrice have just begun.
WITTENBERGJune 11-Aug. 8 (Colorado premiere)University TheatreDirected by CSF Producing Artistic Director Timothy OrrTo believe or not to believe? That is the question when Prince Hamlet, a dazed-and-confused senior at Wittenberg University, circa 1517, is caught in the crossfire between two giants
of philosophy — and ego — the freethinking skeptic Dr. Faustus and stuffy, guilt-ridden Martin Luther. Punny, funny, brainy and zany, David Davalos’ ingenious mashup is equal parts Tom Stoppard, campus caper and metaphysical mind-trip.
OTHELLOJune 26-Aug. 8Mary Rippon Outdoor TheatreDirected by Lisa Wolpe, Los Angeles Women’s Shakespeare Co.In a country at war, Othello the Moor commands with authority and nobility of spirit, drawing strength from his bold and beautiful wife, Desdemona. But he has placed his trust in one of Shakespeare’s most sinister villains, Iago, who would sow seeds of doubt and destruction in the garden of their love. Passion, jealousy and murder explode in a sexy theatrical thriller that tumbles toward a diabolical finale
HENRY VJuly 16-Aug. 9, University TheatreDirected by Carolyn Howarth, director of CSF’s 2014 Henry IV, Part 1England’s crown rests on the head of the once wild and undisciplined acolyte of Falstaff, Prince Hal, now a wise and noble monarch leading his country into war with France. Rousing and cinematic in scope, Henry V raises compelling questions about leadership in a troubled world that powerfully echoes our own. With this production, CSF completes the four-play Henriad history cycle begun in 2013.
HENRY VI, PART 1 Aug. 2 and 5 , University TheatreBack by popular demand, CSF presents two exclusive, “original practices” performances of the rarely produced saga of Henry V’s son. Last seen onstage at CSF in 1967, the play features one of Shakespeare’s most intriguing females, Joan of Arc. Both 2014 “OP” shows sold out, so buy your tickets early!
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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 QUARTETSunday, 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)
JESUS CHRIST SUPERSTARLyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia PangApril 10-19, University TheatreEver 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 CURRENTApril 17-19Charlotte York Irey TheatreA 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.
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.
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SPRING SWINGSunday, April 12, 2 p.m. Macky AuditoriumJoin 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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Jesus Christ Superstar changed Boulder’s theater scene in 1970sAndrew 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.
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 few facts about the show’s history in Boulder and beyond:
n 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 longest-running musical in the history of London’s West End.
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.
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CU Theatre presents
Jesus Christ Superstar
A rock opera By Andrew Lloyd Webber and Tim Rice
April 10-19University Theatre
Tickets $19, available at colorado.edu/theatredance/events
or by calling 303-492-8008
MUCH ADO ABOUT NOTHING
OTHELLOWITTENBERGHENRY VHENRY VI, PART 1
JUNE 5 - AUG. 9 , 2015
303-492-8008 • COLORADOSHAKES.ORG
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June 22 - August 1
Visit our website to learn about our fun summer programs for all ages
303.466.5685 | www.ccdance.org/summer
June 22 - August 1
Visit our website to learn about our fun summer programs for all ages
303.466.5685 | www.ccdance.org/summer
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Congratulationsto 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.
Jesus Christ Superstar Lyrics by Tim RiceMusic by Andrew Lloyd Webber
April 10-19University Theatre
Tickets start at $19 colorado.edu/theatredance 303-492-8008
s
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Be a part of
Boulder Arts WeekMarch 27–April 4, 2015This 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
2015 Colorado Shakespeare Festival features fan favorites, young stars and an Emmy Award winnerThe 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.
Other highlights of the 2015 acting company include: n CSF favorite Geoffrey Kent as as Macon’s sinister foil Iagon 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 Lizcanon Learn more at coloradoshakes.org
Tickets are on sale now for CSF’s 2015 season at coloshakes.org and 303-492-8008.
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PETER MACON AS OTHELLO, GUTHRIE THEATER, 2014 PHOTO BYJOAN MARCUS/GUTHRIE THEATER
BACKGROUND IMAGE: PHOTO BY ZACHARY ANDREWS/COLORADO SHAKESPEARE FESTIVAL
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MahlerFest XXVIII"OLSON'S FAREWELL CONCERT"
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See www.mahlerfest.orgfor information about the
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We give students choices in the programs they take and class work. In exchange, we
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93 •
New Vista High School
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.
HIGH SCHOOLREINVENTED
700 20th Street, Boulder | 720-561-8700 bvsd.org/schools/nvhs
NEW
VISTA HIGH SCHOOL
• BOULDER, COLORADO • 19
93 •
New Vista High School
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.
HIGH SCHOOLREINVENTED
700 20th Street, Boulder | 720-561-8700 bvsd.org/schools/nvhs
NEW
VISTA HIGH SCHOOL
• BOULDER, COLORADO • 19
93 •
New Vista High School
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.
HIGH SCHOOLREINVENTED
700 20th Street, Boulder | 720-561-8700 bvsd.org/schools/nvhs
NEW
VISTA HIGH SCHOOL
• BOULDER, COLORADO • 19
93 •
New Vista High School
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.
HIGH SCHOOLREINVENTED
700 20th Street, Boulder | 720-561-8700 bvsd.org/schools/nvhs
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Edward Dusinberre, violinKároly Schranz, violin
Geraldine Walther, violaAndrás Fejér, cello
WithDavid Korevaar, piano
String Quartet in B-flat Major, Op. 64 No. 3 Joseph HaydnVivace assai (1732-1809) AdagioMenuet. AllegrettoFinale. Allegro con spirito
String Quartet No. 2 — “Operas” (2014) Carter Pann1. L’Extase (b. 1972)2. Precipitato3. Passacaglias4. Commute: Adjusting the Torque5. Escher’s Rounds
Intermission
Piano Quintet in F minor Cesar Franck(1822-1890)
David Korevaar, piano
___________________ Program ___________________
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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 wheeler-dealer. 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 PannPann’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. Eachmovement further explores a harmonic language I have been cultivating in recent yearsthrough 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 speedthrough 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 gamewhich I set down for myself to solve. The movement resembles a Baroque Air. The first violin sings a
NotesBy Marc Shulgold
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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 two-movement 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-in-cheek 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 quilt-patterned 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 Piano Quintet in F minor César FranckCésar 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 Saint-Saëns. 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 Saint-Saëns 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 Saint-Saëns’ 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
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that has enthralled listeners since that scandalous Parisian premiere.
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.
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.
Artist Bios
| 303.492.8008 | 17
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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.
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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.
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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.
Inspired Again!
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In a community like ours, it’s easy to feel inspired. Just look around. Thank you to our business associates, clients and the non-profi t organizations that make our community a better place in which to live and work.
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Thompson Jazz Studies ProgramThe 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.
BENEFACTORJoseph and Becky NeglerJack and Jeannie Thompson
PATRONJ. Michael Dorsey and Carolyn BuckMartha and Alan Stormo
SUPPORTERLeslie and Henry EatonGretchen King
CONTRIBUTORMarc and Joan BuieDaryl and Kay JamesRobert and Francine MyersJoseph and Linda PauleSuzanne and Robert PlushFrank and Maureen SpaidPeter Wall
MEMBERWilliam and Rebecca BrookhartDonald and Martha DeutschFrances EvansWilliam and Ruth FryeGregory and Gladeane LefferdinkMarian MathesonDerek MatsunagaLinda and Michael McLaneClaudia MillsGary and Brooke PalumboBrenda Parolini and Richard MillerGail Promboin and Robert BurnhamAndrew RogowskiCarolyn Santangelo and Scott MayStephen and Amy West
To learn more about giving to the Thompson Jazz Studies program, call 303-735-6070 or email [email protected].
| 303.492.8008 | 19
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The Center Stage Club offers online versions of CU Presents Magazine for
patrons to read before performances. And, check out upcoming metro-area performing arts events in the calendar.
CenterStageClub.comThe Center Stage Club is produced by Colorado’s Performing Arts Publications
.com
Faculty TuesdaysFaculty 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.
20 | | cupresents.org
MARCH 17 Daniel Kellogg, composer, Bjorn Arvidsson, librettist and tenor,
Hsing-Ay Hsu, piano, and singersWorld 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.
MARCH 31Christina 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.
RICHARD TOENSING
| 303.492.8008 | 21
Our faculty artists come together from around the world to teach and give
inspirational performances in the heart of the Rocky Mountains in Estes Park.
Join us Sundays @ 3:00 p.mJune 7, 14, 28July 5, 12, 19August 2, 23September 6
and Friday @ 3:00 p.m.August 21
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INSPIRINGPERFORMANCESINSPIRINGPERFORMANCESby WORLD-CLASS FACULTY in anUNMATCHED MOUNTAIN SETTING
Our faculty artists come together from around the world to teach and give
inspirational performances in the heart of the Rocky Mountains in Estes Park.
Join us Sundays @ 3:00 p.mJune 7, 14, 28July 5, 12, 19August 2, 23September 6
and Friday @ 3:00 p.m.August 21
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If your company does not offer the EcoPass, let them know they can receive up to a 50% reimbursement the first year contract and 25% the second year.
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There’s no place like home.
There’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. frasiermeadows.org | 303.499.4888
Our new, specially designed Assisted Living and Memory Care Apartments open at the end of 2014.
To learn more, visit FrasierMeadows.org.
Artist Series
BENEFACTORMark and Margaret CarsonCarson-Pfafflin Family FoundationPaul Bechtner FoundationGreg Silvus and Melanie MillerEllen and Joshua Taxman
SPONSORDiane and Richard DunnDaryl and Kay JamesMary LamyLouise Pearson and Grant Couch
PATRONAnonymousJoan McLean BraunChris and Barbara ChristoffersenRuth Carmel KahnMidge KorczakHal OsteenScott Wiesner and Janet Ackermann
SUPPORTERAnonymousAlbert and Nancy BoggessFiona and Marv CaruthersCarol and Michael GallucciDoree and Jerry HickmanMyra JacksonSusan and Jon LounsburyHeidi and Jerry LynchJanet and Scott MartinRobert and Sandra McCalmonJudy and Alan MegibowBarbara and Irwin NeulightJerry and Jamie OrtenMikhy and Michael Ritter Alicia and Juan RodriguezTheodore and Ruth SmithLawrence and Ann Thomas
CONTRIBUTORGil and Nancy BermanEllen and Dean BoalNorma Ekstrand and Tom CampbellMartha Coffin Evans and
Robert TremblyGregory and Gladeane LefferdinkHarold and Joan LeinbachRobert and Francine MyersGary and Beth RauchStephanie and Alan RudyDouglas and Avlona TaylorKenneth Pope and Christine Willis
MEMBERDavid BeausangShirley CarnahanPauline and Noel ClarkCatherine CloutierKenneth DellFran EvansLeslie and Merrill GlustromLaima and Damon HaleyJeannette and David HilleryJohn Graham and Lorin LearPamela LelandJudah and Alice LevineThomas and Gail MaddenPaul and Kay McCormickJanet and Hunter McDanielTammy NoirotKim and Rich PlumridgeRandall RutschRuth Shanberge in memory of
Carol SeidemanMary Ann Shea and Steven MeyrichCourtland and Carolyn SpicerZoe StiversRandi and Anthony StrohTom and Karen ThibodeauLloyd Timblin Jr.Geoffrey TyndallHeather Van DusenDerek Van WestrumVince and Caroline Wayland
ARTIST SERIES ADVISORY BOARDGil BermanRodolfo BetancourtEllen BoalJoan McLean BraunJohn DavisDiane DunnClay EvansMichael GallucciLissy GarrisonLaima HaleyDaryl James, PresidentMaryan JarossRuth KahnJerry OrtenLouise PearsonErika RandallGregory SilvusEllen TaxmanNicholas Vocatura
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.
CORPORATE SPONSORS:Boulder CPA Group (Formerly Mark H. Carson & Associates, P.C.)Caplan & EarnestCenter Copy Boulder, Inc.Frasier Meadows RetirementH.B WoodsongsHurdle’s JewelryJames & Associates, LLCRoser Visiting Artist EndowmentShaw ConstructionWESTAF
IN-KIND SPONSORSBoulder WeeklyColorado Public RadioThe Daily CameraFlowers in BloomHotel BoulderadoKUNCKUVOLiquor MartThe Pines Catering
22 | | cupresents.org
| 303.492.8008 | 23
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Takács Society
BENEFACTORAlbert and Nancy BoggessGary and Judith Judd in memory
of Fay ShwayderNorma R. Johnson Fund in memory
of Fay ShwayderJanet and David RobertsonTakács Quartet
SPONSORPamela DeckerMarion Thurnauer and Alexander
Trifunac
PATRONCatharine Hawkins FoundationThomas and Carol CechChris and Barbara ChristoffersenCarol Lena KovnerKathleen SullivanJohn and Carson Taylor
SUPPORTERAnonymousAnne Heinz and Ron YaronRobert R. KehoeWalter and Eileen KintschRay and Margot LaPanseMaxine MarkLise MennVirginia M. NewtonNewton Family Fund, Inc.Neil and Martha PalmerMikhy and Michael RitterSusan and David SeitzLawrence and Ann ThomasJames and Lena Wockenfuss
CONTRIBUTORVirginia and Stanley BoucherWilliam and Alice BradleyChristopher and Margot BrauchliMarda BuchholzNoel and Pauline ClarkRobert and Lenore DamrauerJon and Liz HinebauchHarold and Joan LeinbachNancy and Paul LevittPatricia and Robert LisenskyCheryl Stevenson and James CannonLynn StreeterRandi and Anthony StrohPatricia Thompson
MEMBERLois AbbottMaria and Jesse AweidaTed and Ingrid BecherKevin and Diana BunnellPatricia ButlerShirley CarnahanPenny CheneryHelen CorbettCharlotte CorbridgeJoann and Richard CrandallBarbara and Carl DiehlCarolyn and Don EtterJean and Bob FischerMarcia Geissinger and Neil AshbyMary and Lloyd GelmanSteve Goldhaber and
Mariana Goldhaber-VertensteinDianne and Kenneth HackettDavid HammerBruce and Kyongguen JohnsonJennifer and Bob Kamper
Caryl and David KassoyMireille KeyAlice and Judah LevineAlbert and Virginia LundellHeidi and Jerry LynchKamilla MacarThomas and Gail MaddenCaroline MaldeNancy and John MalvilleJ. Richard and Marjorie McIntoshPeter and Doris McManamonChristopher Mueller and
Martha WhittakerJoan NordgrenAlison and Graham OddieJoanie OramJulie and Wayne PhillipsArthur and Ina RifkinJoanna and Mark RosenblumJoAn SegalRuth Shanberge in memory
of Carol SeidemanTodd and Gretchen SlikerGrietje SloanCarol and Art SmootJan and Charles SquierHelen StoneBerkley TagueLaurie and Arthur TraversMary and Peter Van EttenBetty Van ZandtThomas VanZandtChristopher and Leanne WaltherNurit and Jim WolfBill WoodM. Yanowitch
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.
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.
24 | | cupresents.org
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Friends of the Eklund Opera Program
BENEFACTORAnonymousThe Academy Charitable
Foundation, Inc.Allen Family FundPaul EklundBob GrahamAnn Oglesby
SPONSORAlan and Martha Stormo
PATRONChris and Barbara ChristoffersenAlbert and Betsy HandBob and Mikee KapelkeKen and Ruth WrightWright Family Foundation
SUPPORTERAnonymousCaulkins Family FoundationJohn HedderichJo and David HillMikhy and Mike RitterRotary International District # 5450Theodore and Ruth SmithLawrence and Ann Thomas
CONTRIBUTORDonna and Ken BarrowJim and Judith BowersRobert and Lenore DamrauerWalt and Mary Ruth DuncanMartha Coffin Evans and
Robert TremblyDavid and Janet HummerHarold and Joan LeinbachBurr LloydDennis PetersonDave and Ann PhillipsRichard and Caroline Van PeltPeter WallMichael and Linda Weatherwax in
memory of Allene Cash
MEMBERJudith Auer and George LawrenceShannon BeeBob Burnham and Gail PromboinAllene CashBen and Gale ChidlawWallace and Beryl ClarkSara-Jane and William CohenPeter and Joan DawsonRichard and Margaret DillonDonald and Beverly EklundLloyd and Mary GelmanEllen and John GilleSteve Goldhaber and
Mariana Goldhaber-VertensteinSusan GraberJanet HanleyLinda L. JohnsonFrank and Marion KreithNicholas and Mollie LeePatricia and Robert LisenskyShauna and Kenneth LevinsonHeidi and Jerry LynchBruce MackenzieMarian MathesonByron and Cathy McCalmonDenise McCleary and
Paul Von BehrenCorinne McKayRichard and Donna MeckleyPat and Bob MeyersMarilyn NewsomMargaret OakesRobert and Marilyn PeltzerByron and Sylvia RileyJuan and Alicia RodriguezElaine SchnabelRuth SchoeningRuth ShanbergeJoAnn Silverstein and Nevis CookHelen StoneWalter TaylorDaniel Urist
GRANTSDenver Lyric Opera GuildGalen & Ada Belle Spencer
FoundationLouis and Harold Price FoundationRoser Visiting Artist EndowmentThe Schramm Foundation
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.
E K L U N D
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ABOUT THE EKLUND FAMILY OPERA PROGRAMRecognizing 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
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www.BoulderPhil.org303.449.1343 ext. 2 Tickets start at $13; Students $5!
Season Finale: Legendar� Vir��osit�Dvořák’s Cello Concer�o with Zuill Bailey
SATURDAY, APRIL 25—7:30 PMMACKY AUDITORIUM, BOULDER
LIADOV The Enchanted LakeDVOŘÁK 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.
MICHAEL BUTTERMAN, MUSIC DIRECTOR
BOULDER
PHILHARMONIC
ORCHESTRA
2014-2015 SEASON
Legends: The Spirit of Boulder
Photo: Lisa-Marie Mazzucco
Personnel
COLLEGE OF MUSIC ADVISORY BOARDRobert Shay, DeanJames R. Austin Chris BrauchliSteve BrunsBob BuntingJan BurtonJohn DavisPaul EklundBill ElliottMartha Coffin EvansJonathan FoxDavid FulkerGrace GammLissy GarrisonLloyd GelmanDoree HickmanDavid HummerDaryl JamesCaryl KassoyRobert KorenblatErma ManteyJoe NeglerSusan OlenwineMikhy Ritter, co-chair Becky Roser, co-chair Mark TezakJeannie ThompsonJack Walker
HONORARY DIRECTORSDean BoalBob CharlesEileen ClineDonna ErismannDave Grusin
STAFFJoan McLean Braun, Executive DirectorNick Vocatura, Operations DirectorLaima Haley, Marketing DirectorClay Evans, Communications DirectorDaniel C. Leonard, Marketing
and Public Relations CoordinatorMelinda Plett, Publications Coordinator Karen Schuster, Graphic DesignerRachel Dodson, Emily Scraggs,
Helen Slivinski, Public Relations AssistantsMargaret Romero, Production AssistantAndrew Metzroth, Box Office ManagerMichael Casey, Box Office Services
CoordinatorCiara Glasheen-Artem, Sydney Bogatz,
Starla Doyal, Lucas Munce, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants
Kevin Harbison, Recording EngineerNancy Quintanilla, Financial ManagerTed Mulcahey, Piano Technician
MACKY AUDITORIUM STAFF Rudy Betancourt, DirectorJohn Jungerberg, Operations ManagerSara Krumwiede, Assistant DirectorJP Osnes, Technical DirectorRhett Snyder, Assistant Technical DirectorRojana Savoye, House ManagerNicole 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 303-492-8008 to make arrangements.
• Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 (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 tax-deductible contribution prior to the beginning of the performance.
• The University of Colorado Boulder is a smoke-free campus.
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