CU Presents Magazine Takács Fall 2013, Sept. 15-16

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

2 0 1 3 – 2 0 1 4 S e a s o n

musicexperience the

A whimsical delight for the entire family!

Don’t miss Aaron Copland’s A P PA L A C H I A N S P R I N G November 2 at 7 :30 PM!

BOULDER BALLET & the BOULDER PHILHARMONIC ORCHESTRApresent

November 29 through December 1Macky Auditorium, CU campus

Get your tickets today!Box Office: 303.449.1343 or online: boulderballet.org

Melissa Heslep. Photo by Sue Daniels

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Table of ContentsCU Presents Staff 6CU Presents Ticket Policy 6Theatre/Dance Season 8Program P 1-4Faculty Tuesdays 22Artist Series Donors 24Takács Quartet Donors 26CU Opera Donors 28Upcoming AS Presentations 30CU Opera 32CU Presents Season 34

| www.cupresents.org4 |

ADVERTISING INFORMATIONThis program is produced for CU Presents by The Publishing House, a division of Colorado Word Works, Inc.

Angie Flachman Johnson, PublisherAnnette Allen, Art Director and Production CoordinatorStacey Krull, Graphic Design & LayoutWilbur E. Flachman, President

For advertising information, call 303-428-9529

7380 Lowell Blvd., Westminster, CO 80030www.coloradoartspubs.com

College of Music Advisory Board

James Austin, Interim DeanChristopher BrauchliRobert F. BuntingJan BurtonColeen ConantMartha Coffi n EvansTyler M. FormanJonathan R. FoxDavid W. FulkerGrace GammLissy GarrisonLloyd GelmanDoree D. HickmanSuzanne A. HooverDavid G. HummerDaryl K. JamesGary S. JoinerCaryl F. KassoyRobert KorenblatThurston E. ManningErma M. ManteyJoseph T. NeglerSusan J. OlenwineMichele RitterRebecca J. RoserSteven K. TaniguchiJeannie ThompsonJack Walker

Welcome to the 2013-2014 season of CU Presents. As always we have a diverse lineup of world-class entertainment, including the world-renowned guests of the Artist Series, the return of the beloved opera La Bohème, stunning symphonic works, masterful chamber music performances, intriguing theater and dance productions and more.

This year also marks the exciting debut of our new, unifi ed ticketing system for the performing arts at CU Boulder, which brings together the Artist Series, Colorado Shakespeare Festival, Takács Quartet, Holiday Festival, CU Opera, College of Music and Theatre & Dance productions under the auspices of CU Presents. Lovers of the performing arts now have an easy-to-use, one-stop way to discover all these inspiring programs and order tickets.

The box offi ce, located just inside the west entrance of the University Club building at the intersection of Euclid Avenue and Broadway on the CU-Boulder campus, is open from 10 a.m. to 5 p.m. Monday through Friday. Metered parking is available on the street or in the Euclid Avenue Autopark. You may also purchase tickets by calling 303-493-8008 or online at cupresents.org. If you have questions, please don’t hesitate to ask or send us an email at [email protected].

Our goal at CU Presents is to share the joy of diverse, thought-provoking, entertaining and outstanding experiences with the CU, Boulder and broader Colorado communities. We want to thank you for helping us make this possible and invite you to join us for many memorable experiences throughout the coming year.

CU Presents: Global performance. World-class entertainment. You have to be here.

Warm regards,

Joan McLean BraunExecutive Director

From the Executive Director

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 indicatesa problem. Hoarseness lasting longerthan a few weeks probably isn’t“laryngitis.”

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As one of only a few specialists in the Western region who performsminimally invasive officeprocedures, balloon sinuplasty, and laser surgery, Dr. King isalways willing to take the time to explain options to help you decide what treatment is rightfor you.

Services and treatments include-• Minimally invasive office procedures of the throat and sinuses

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• Esophagoscopy and evaluation for reflux

Conveniently located in Broomfield & Golden • 720-401-2139 • PeakENTandVoiceCenter.com

J. Michael King, MD

Offices in Broomfield & Golden403 Summit Blvd., Suite 204Broomfield, CO 80021

1030 Johnson Road, Suite 350Golden, CO 80401

310

204

Imig Music Building

UNIVERSITYCLUB(Box Office)

EuclidAvenueAutopark

Colorado Avenue

18th

St.

Broadway

bike path

Euclid

Pleasant St.

University Ave. 18th St.17th St.

Lot380

Grusin Music HallChamber HallMusic Theatre

Lot

Lot

ATLAS

MACKY

N

UniversityTheatre

Hellems Artsand Science

MaryRipponTheatre

Education

University TheatreLoft TheatreActing StudioIrey York Theatre

EventLot

UMC

Joan McLean Braun, Executive DirectorClay Evans, Public Relations DirectorLaima Haley, Marketing DirectorMyra Jackson, Programs and Scheduling ManagerNick Vocatura, Operations DirectorDaniel C. Leonard, Marketing and Public Relations CoordinatorKaren Schuster, Graphic DesignerCourtney Pomeroy, Public Relations AssistantEmily Scraggs, Public Relations AssistantStephanie Doctor, Programs and Scheduling AssistantAndrew Metzroth, Box Offi ce ManagerKatrina DeVore, Box Offi ce Services CoordinatorSydney Bogatz, Ciara Glasheen-Artem, Starla Doyal, Christine Herwig, Lucas Munce, Harper Nelson, Kayla Pinney, Melanie Shaffer, Box Offi ce AssistantsKevin Harbison, Recording EngineerNancy Quintanilla, Accounting TechnicianTed Mulcahey, Piano Technician

MACKY AUDITORIUM STAFFRudy Betancourt, DirectorAngela Venturo, Associate DirectorJ. P. Osnes, Technical DirectorRojana Savoye, House ManagerChelsea Ayers, Assistant House Manager

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 offi ce as early as possible at 303-492-8008.

• 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.

• Food and beverages are prohibited in the seating areas of all theaters.

• Photographic and recording devices are prohibited.

• All programs, artists, and prices are subject to change.

• All sales are fi nal, 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.

• Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children.

• Can’t use your tickets? Turn your tickets back to the CU Presents Box Offi ce 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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22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

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15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

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MARY RIPPON OUTDOOR THEATRE

STAGE

9

8 7

6 5

4 3

2 1

12 11 10 9 8 7 6 5 4 3 2 1

Right

Center

Left

9

8 7

6 5

4 3

2 1

Grusin Music Hall (500 seats) Music Theatre (250 seats)

Macky Auditorium (2000

UniversityTheatre

(400 seats)

Mary Rippon Outdoor Theatre

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| 303-492-8008 | 9

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Every gift makes a big 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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THE TAKÁCS QUARTET

EDWARD DUSINBERRE, violin KÁROLY SCHRANZ, violin GERALDINE WALTHER, viola

ANDRÁS FEJÉR, cello

with

ERIKA ECKERT, viola

PROGRAM

String Quartet No. 16 in E-flat Major, K. 428 Wolfgang Amadeus Mozart Allegro non troppo (1756-1791) Andante con moto Menuetto. Trio Allegro vivace

String Quartet No. 2, “Intimate Letters” Leos Janácek Andante - Con moto - Allegro (1854-1928) Adagio - Vivace Moderato - Andante - Adagio Allegro - Andante - Adagio

Intermission

String Quintet No. 3 in E-flat Major, Opus 97 Antonín Dvorák Allegro non tanto (1841-1904) Allegro vivo Larghetto Finale. Allegro giusto

Erika Eckert, viola

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PROGRAM NOTESString Quartet No. 16 Wolfgang Amadeus Mozart in E-flat Major, K. 428

Imagining the birth of the string quartet seems an obvious concept: Simply reduce the four sections of an orchestra’s strings to one player each (basses usually doubled the cellos, remember) and gather them together for an intimate conversation. In fact, the string quartet grew out of the disappearing trio sonata of the Baroque. That style (two violins, typically, plus a continuo of cello and harpsichord) was viewed as old-fashioned in the mid-1700s, particularly the presence of a harpsichord. That said, the remaining string contingent—two violins and cello—offered possibilities. Adding a viola brought richness to the ensemble, creating a more modern sound. Out of this combination of voices, a new transparency emerged, fresh harmonies and challenging counterpoint. Equally important, the genre offered amateur string players the chance to collaborate in private—as long as the first violinist could handle the bulk of the material, while the others were content with simple accompaniment. Such was the original idea when Boccherini, Haydn and others began their experimentations. From 18th-century amusement to profoundly intellectual and musically demanding 19th-century high art, the string quartet evolved like no other genre—growing and stretching in just a few years as the mature Haydn and youthful Mozart (younger by two dozen years) bounced ideas off each other, uncovering secrets no one realized were there. Soon, the dominance of the first violin receded and the four voices achieved greater equality. Haydn took the lead with his “Sun” Quartets (Opus 20) and later with his Opus 33 collection. A big breakthrough came with Mozart’s set of six which he dedicated to Haydn, presenting them with a cover letter that oozed humbleness: “Here they are then, O great Man and my dearest Friend, these six children of mine...the fruit of long and laborious endeavor...” Creating the six, of which K. 428 on this program is third in line, did involve serious work by Mozart, as the revisions and cross-outs in the manuscripts reveal. These “Haydn” Quartets were written over a span of three years, finally published in late summer, 1785. The brilliance of the six is inescapable—each one different from the next, each displaying Mozart’s unending inspiration and an increasing maturity. The E-flat Quartet, K. 428, begins with a bold, unison statement (always a nice way to attract attention, as Beethoven’s Fifth attests). This short bit of throat-clearing achieves surprising significance later in the movement. The following Andante offers solid evidence of the trend toward equality among the voices, while the final two movements brim with confident invention—a Haydnesque wit enlivening the charming finale. Contemporary critics were unimpressed: “His new quartets,” one opined, “are much too highly spiced to be palatable for any length of time.” Haydn knew better. As he famously confessed to Mozart’s father upon hearing the Quartets, Wolfgang was simply “the greatest composer I know.” String Quartet No. 2 “Intimate Letters” Leos Janácek

“You stand behind every note, you, living, forceful, loving. ...Those notes of mine kiss all of you. They call for you passionately.” An “intimate letter” indeed. And Janácek compulsively wrote more than 700 of them to Kamila Stösslová, a woman 38 years his junior. Their quirky relationship stands as one of the most fascinating in music, one that inspired the Czech composer to create many of his greatest works during the last 11 years of his life. What made their romantic relationship so unusual was the fact that these “lovers” were never lovers at all. Each was married (she, happily and the mother of two). In addition, from the sheer imbalance in correspondence—she rarely wrote him, and most of those were destroyed by the composer—it appears that Kamila was barely interested in her pen pal. That said, she never discouraged his feelings, and was with him at his bedside as he lay dying (the Quartet was premiered one month after his death). In one of his letters, Janácek admitted that their union was “spiritual,” which never quieted his passion—an ardor displayed forcefully in the second of his two quartets. The first, completed in 1923, was subtitled “Kreutzer Sonata” after the Tolstoy novella, further evidence that Janácek thought of chamber music as a story-telling medium. And what a story “Intimate Letters” tells. In a letter (naturally), Janácek described the work to Kamila in vivid detail, saying it would be called “Love Letters...They’ll be little fires in my soul and they’ll set it ablaze with the most beautiful melodies.” He explained that the work would be unified by a viola d’amore (“the viola of love,” he reminded her). As work on the quartet continued in 1928, the composer abandoned the idea of utilizing that ancient instrument and instead substituted the viola to represent his beloved. The two had met in 1917 at a Moravian spa the composer

frequented, and he was smitten by her beauty almost immediately. Kamila’s husband, David, seemed to tolerate their ongoing relationship, while Janácek’s wife, Zdenka, was prone to fits of jealous rage. Trapped in a troubled marriage, wracked with grief over the loss of his two children and incapable of finding happiness with his one true love, Janácek made all his dreams come true in a single piece of music, in which he and Kamila would find happiness together and start a family. The Quartet’s second movement envisions the birth of their son, the third was described to Kamila as “a vision of you,” while the dance-like finale is “fear for you—however it eventually sounds not as fear, but as longing and fulfillment.” It’s easy to read his words and focus solely on the melodramatic back story of “Intimate Letters.” But that would be doing the music a disservice. In this piece, the composer’s final completed work, all of his bold originality is evident. While Schoenberg and others were changing the face of music, Janácek steadfastly remained true to his compositional style, employing traditional tonality, but with strokes of unexpected disonance. As one might expect from a work inspired by a rocky, one-sided romance, there are abundant twists and turns, sudden mood changes and plenty of tension. The opening movement, describing the meeting at the spa, depicts Kamila in an eerie melody introduced by the viola sul ponticello (on the bridge, rather than away from it). That tune is delivered in this fashion by other voices, a suggestion perhaps that Janácek’s life had now entered another, disquieting dimension.

String Quintet No. 3 in E-flat, Opus 97 Antonín Dvořák

Thank goodness for Jan Kovarik. The American-born Czech violist had become Dvořák’s assistant and close friend when the composer took on the directorship of the New York-based National Conservatory of Music in 1892. Almost instantly homesick for Bohemia, Dvořák was in dire need of a change in scenery during his four-month summer vacation the following year. Kovarik suggested a visit to Spillville, Iowa. His father was a prominent member of that tiny farming community, populated by immigrant Bohemians who’d first settled in the Turkey River Valley in the 1850s. It was an irresistible offer: The composer would be among his people, so that language wouldn’t be an issue; he’d be able to take morning walks, play the organ in the venerable St. Wenceslas Catholic Church, compose as he felt the need—and, best of all, he and his family could travel to and from Iowa by train. Dvořák just loved trains. Kovarik’s idea led to the creation of two of the composer’s happiest chamber works: the F-Major String Quartet and the E-flat String Quintet, both written in quick succession at Spillville. These two were part of the flow of American-born compositions that began with the “New World” Symphony, completed in New York, and would continue with the Cello Concerto, begun in the U.S. and finished back in Prague. The excitement of living in the U.S. can be heard in each of those works, particularly the back-to-back chamber pieces. The Quartet came first, published as Opus 96, a composition that Dvořák subtitled “American” upon completing it in a mere two weeks in June, 1893. Three days later, work was begun on the Quintet, Opus 97 (a second viola added to the mix) and completed by the end of July. He also afixed the subtitle “American,” but soon removed it. Nearly all of the music born in this country has caused head-scratching among scholars who sought links to indigenous tunes, rhythms, scales, motifs—anything that could point to specific American sources. They searched in vain. Sure, there are rhythms suggesting Indian drums in the Quintet’s Second Movement, and the prominence of pentatonic (five-note) melodies here and there create a folk-like earthiness. We know that when the Kickapoo Indian Medicine Show visited Spillville, Dvořák planted himself in the front row, enjoying in particular the music and dancing of an Iroquois contingent that lived nearby. It’s possible, too, that he consciously borrowed the initial six-note figure of “My Country ’Tis of Thee” for the Quintet’s exquisite slow movement. But that’s nothing unusual. Wherever he lived, Dvořák used every local influence—be it Bohemian, Moravian, Native American, African-American or just plain American—as a starting point for his own melodies. And all of those tunes from the New World, let’s be honest, are more Bohemian-flavored than American. It’s likely that the biggest influence in the Quintet and Quartet is Spillville itself. In both compositions, one can sense the joy that Dvořák felt during his only summer in Iowa (he’d return to Prague on his next break from the Conservatory a year later). From the opening measures, the Quintet’s air of contentment rarely ceases. Even the minor-key variations of the Larghetto exude more warm, heart-felt soul than self-pitying sadness. The composer described Opus 97 as “something really melodious and simple.” Need we say more?

—Marc Shulgold

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Erika Eckert, Associate Professor of Viola at CU-Boulder and summer faculty member at the Brevard Music Center in North Carolina, also served on the faculties of The Cleveland Institute of Music, Baldwin Wallace College, and the Chautauqua Institution in New York. As co-founder of the Cavani Quartet, she performed

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California, Colorado, Tennessee, Texas, Oregon, and Vermont. Other performing engagements include 400th Galileo Anniversary at the American Academy in Rome, El Paso Pro Musica International Chamber Music Festival, Australian Festival of Chamber Music, Sitka Summer Music Festival Autumn Classics, and Niagara International Chamber Music Festival. Teaching engagements include the North American Viola Institute in Orford, Canada, ASTA International Workshops in Australia and Norway, Perlman Music Program, Quartet Program, Suzuki Association of the Americas, Inc. Ninth Conference, Chamber Music Connection, and Interlochen Arts Academy. Ms. Eckert also served as adjudicator for the NFAA Arts Recognition and Talent Search, the exclusive nominating agency for the Presidential Scholars in the Arts, and appeared in their Academy Nominated Documentary, Rehearsing a Dream.

on major concert series worldwide and garnered an impressive list of awards and prizes, including first prize at the Naumburg Chamber Music Competition. In recent seasons, Ms. Eckert has performed as guest-violist with the Takács Quartet, appearing with them in Canada,

The Takács Quartet has established a reputation as one of the world’s great ensembles.

The Takács has won many awards including being the first string quartet to be inducted into Gramophone magazine’s Hall of Fame, a 2011 Royal Philharmonic Award (for their Beethoven cycle at the South Bank Centre, London), a Grammy, three Gramophone Awards, and awards from the Japanese Recording Academy and Chamber Music America.

The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder. In addition to teaching duties they perform 80 concerts per year in North America and throughout Europe, as well as in Australia, New Zealand, Japan and Asia.

In 2013-2014, the Takács returns to Japan and Singapore, and will also perform Bartók Cycles throughout the U.S., including performances at Ravinia, Carnegie Hall, Princeton, Kennedy Center, Stanford, UC Berkeley, Boston and Cleveland. The quartet recently toured in North America with pianists Marc-Andre Hamelin and Garrick Ohlsson, including concerts at New York’s Lincoln Center. Continuing their

Edward Dusinberre, András Fejér, GeraldineWalther, Károly Schranz

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position as Associate Artists at Wigmore Hall in London, they will give several concerts focusing on Czech music as well as two programs combining late Beethoven Quartets with the music of Shostakovich and Webern. Since 2006 the Takács have recorded for Hyperion Records. Upcoming releases include the Britten Quartets (November 2013) and the Brahms Viola Quintets with Lawrence Power.

The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by violinists Gabor Takács-Nagy and Károly Schranz, violist Gabor Ormai and cellist András Fejér, while all four were students. Following competition

successes in England and France the Takács launched an international career. After several shorter CU residencies during which the Takács studied and collaborated with Denés Kormozay, founding violist of the Hungarian Quartet, the Takács moved permanently to Boulder in 1986.

Violinist Edward Dusinberre joined the quartet in 1993. Violist Roger Tapping joined in 1995. Violist Geraldine Walther, principal viola of the San Francisco Symphony for 29 years, replaced Tapping in 2005.

In 1988 the Takács signed a record contract with Decca and reco rded works by wo rks by Beethoven, Bartók, Borodin, Brahms, Chausson, Dvořák, Haydn, Mozart, Schubert and Smetana.

In 2001 the Takács Quartet was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary and in March of 2011 each member of the Quartet was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary.

Visit us on Facebook at www.facebook.com/takacsquartet.

DEGREE PROGRAMS:• Bachelor of Music• Master of Music• Doctor of Musical Arts• Professional Certificate in

String Quartet Performance

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.

The University of Colorado welcomes applications to one of the most vibrant chamber music programs in the country.

QUARTET IN RESIDENCE • UNIVERSITY OF COLORADO BOULDER

music.colorado.edu • takacsquartet.com

for more information about string chamber music at cuand the graduate quartet program, please contact:Judith Glyde, Chair, String Faculty 301 UCB, College of Music Boulder, Colorado [email protected] • 303.492.5921

Distinguished members of the faculty include:

Lina Bahn, violin Paul Erhard, bassTHE TAKÁCS QUARTET

THE TAKÁCS QUARTET

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

Nicolò Spera, guitarCharles Wetherbee, violin

Erika Eckert, viola Janet Harriman, harp

Margaret Berg, music education, strings

Judith Glyde, cello

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September 17: The program will feature ethnomusicologist/composer Dr. Brenda M. Romero and guests ethnomusicologist/performer Jay Keister and Mami Itasaka Keister, a Japanese dance specialist formally known as Miko Bando. Romero will begin with a brief lecture recital on early New Mexican folk songs on voice and guitar that will be followed by two short Japanese pieces featuring Keister and Miko Bando. The concert will end with a sampling of Dr. Romero’s formal compositions.

September 24: A FRENCH SOIRÉE: Hsing-ay Hsu, piano, will be joined by faculty colleagues Jennifer Bird-Arvidsson, soprano, Andrew Cooperstock, piano, and Charles Wetherbee, violin with piano solos by Ravel including Scarbo and Debussy duets including songs from Recueil Vasnier, Violin Sonata, and Fêtes (4 hands).

October 1: Margaret McDonald, collaborative piano, will be joined by new voice faculty Abigail Nims, mezzo-soprano, Jennifer-Bird Arvidsson, soprano, visiting faculty artist Leone Buyse, fl ute, Charles Wetherbee, violin, and Judith Glyde, cello for an evening of works by female composers Fanny Mendelssohn-Hensel, Clara Schumann, and Mel Bonis followed by Mendelssohn’s popular Piano Trio in D Minor.

October 8: ECLECTIC INFLUENCES: Daphne Leong (piano), with John Gunther, saxophone, Patrick Sutton, guitar, Douglas Walter, marimba, Carl Dixon, marimba, and Michael Tetreault, percussion. A cutting-edge mix of avant-garde new music, jazz, and soul infl uences, this program features the world premiere of Clear Sounds among Hills and Waters for solo piano by Robert Morris, McDermott’s Smoke of Burning Cloves for marimba, and Andriessen’s Hout and Shende’s Throw Down or Shut Up!

October 15: Abigail Nims, mezzo-soprano and Nicholas Carthy, piano. Welcome Abigail Nims to our voice facilty and to Boulder. She will be joined on the piano by Nicholas Carthy as they perform works by Schumann, Poulenc, Ives, Ginastera, and Harbison.

October 22: FIDDLE FIESTA: Lina Bahn is the leader of the party of wonderful solo and duo violin music with guest colleagues Charles Wetherbee, Károly Schranz, and Edward Dusinberre.

October 29: AMERICAN SONGS: Patrick Mason, baritone will present the premiere of Robert Spillman’s song cycle The Branch Will Not Break: Nine Poems of James Wright with the composer at the piano. Included in the program will be songs by Stephen Foster and Leonard Bernstein.

November 5: HORNS APLENTY: Join CU Associate Professor of Horn Michael Thornton and his colleagues from the Colorado Symphony Horn Section for an evening of music for horns. Works will include the Schumann Konzertstücke for Four Horns, Mitushin Horn Quartet, and a featured performance of the William Buck Romanza for Four Horns, recently discovered in the American Music Research Center at the University of Colorado.

November 19: EN TIEMPO DE TANGO: Enjoy an evening of tangos and tango-inspired pieces with Alejandro Cremaschi and Trio Cordilleras, Beth Kipper, violin, Thomas Heinrich, cello. The program features a few classic tangos, and pieces by Piazzolla, Luis Jorge Gonzalez, Emilio Colon, Juan Maria Solare, Miguel del Aguila, Eduardo Alonso-Crespo and others.

December 3: EVENING LIGHT: Charles Wetherbee, violin, and David Korevaar will present a violin and piano duo recital featuring two rarely performed masterpieces, the Saint-Saëns D Minor Violin Sonata and the Dohnanyi Violin Sonata. Also included on the program is the Schubert Sonata in G Minor and 10 preludes by Shostakovich.

2013 Fall

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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2013-14 Season of Epics

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ARTIST SERIES

The Artist Series presents performances of fi ne 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.

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Colorado Public RadioDaily CameraMark H. Carson and Associates, P.C.Emerson Process/MicroMotionHotel BoulderadoHurdle’s JewelryFriends of the Artist SeriesJames and Associates, LLCKUNCKUVORoser Visiting Artist FundWestern States Arts Federation

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Janet E. Ackermann and Scott R. Wiesner Charitable FundPaul Bechtner FoundationCarson-Pfaffl in Family FoundationA. G. Edwards & Sons, Inc.National Endowment for the ArtsNewton Family FundWestern States Arts Federation Tour WestPolk Family Charitable FundGeorge F. Reynolds EndowmentScripps Company

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Mark and Margaret CarsonChris and Barbara ChristoffersenOlivia EdwardsKahleen and Tony FlippoSuzanne and David HooverRobert and Sandra McCalmonCorp sponsorship?????

Scott Wiesner and Janet AckermannJoan McLean BraunMichael and Carol GallucciMyra JacksonSusan and Jon LounsburyHeidi and Jerry LynchJerry and Jamie OrtenMikhy and Michael RitterAlicia and Juan RodriguezDaniel and Boyce SherTheodore and Ruth SmithLawrence and Ann Brennan Thomas

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CONCERT SPONSORS

Gil BermanRodolfo J. BetancourtEllen T. BoalJoan McLean BraunJohn S. DavisDiane DunnMichael A. GallucciLissy GarrsonLaima G. HaleyDaryl K. James, PresidentMaryan K. JarossRuth C. KahnKathryn S. KellerJerry C. M. OrtenLouise PearsonGregory L. SilvusEllen TaxmanNicholas J. Vocatura

DONORS

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Make all gifts payable to the University of Colorado

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ARTIST SERIES, CU College of Music, 301 UCB, Boulder, CO

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The Violin and the Voice: In Concert with Edward Dusinberre

Ars Nova Singers welcomes the first violinist of the Takacs Quartet in a special one-night-only collaboration at Macky Auditorium. Join us for this rare opportunity to hear one of the great

violinists of our time, performing with Ars Nova Singers in contemporary works by Knut Nystedt, Rudi Tas, and Reed Criddle, as well as Edward’s first Boulder performance

of the famous Chaconne (from Partita No. 2 in D minor) by Johann Sebastian Bach.

Saturday, February 8, 2014, 7:30pmMacky Auditorium, Boulder

Tickets: $35 / $25 / $15, available at macky.colorado.edu

_www.arsnovasingers.com

Ars Nova Singers 28th Season _ Connections ^ 2013-2014

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.

Albert and Nancy BoggessChris and Barbara ChristoffersenNorma JohnsonGary and Judith Judd

Janet and David RobertsonThe Takács QuartetMarion Thurnauer and Alexander Trifunac

Thomas and Carol CechCarol Lena KovnerThurston Manning

Anne Heinz and Ran YaronPatricia and William JohnsonRobert KehoeWalter and Eileen KintschRay and Margot LaPanseNewton Family Fund, Inc.Virginia NewtonNeil and Martha PalmerMikhy and Michael RitterLawrence and Ann Brennan Thomas

Make all gifts payable to the University of Colorado Foundation and mail to

TAKÁCS SOCIETY, CU College of Music, 301 UCB, Boulder, CO 80309-0301For credit card payments, questions or additional information,please call the

College of Music Development Offi ce at 303-735-6070.

ENDOWMENT GIFTS

BENEFACTOR

SPONSOR

PATRON

Stanley and Virginia BoucherWilliam and Alice BradleyChristopher and Margot BrauchliPamela and Barry GatzHarold and Joan LeinbachPaul and Nancy LevittPatricia and Robert LisenskyAnnyce MayerLise MennPatricia ThompsonAlice Dodge Wallace

CONTRIBUTOR

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MEMBER

Lois AbbottNeil and Marcia Geissinger AshbyMaria and Jesse AweidaHarold and Ingrid BecherKevin and Diana BunnellPatricia ButlerNoel and Pauline ClarkRichard Collins and Judith ReidHelen CorbettCharlotte CorbridgeClara DeserBarbara and Carl DiehlCarolyn and Don EtterJean and Bob FischerLloyd and Mary GelamanDianne and Kenneth HacettRichard and Catharine HarrisRussell and Ann HayesBruce and Kyongguen JohnsonMireille KeyAlice and Judah LevineAlbert and Virginia LundellHeidi and Jerry LynchCaroline MaldeJohn and Nancy MalvilleJ. Richard and Marjorie McIntoshJosef and Sara MichlSandra Moriarty Sue and James PalmerFaith and Roy PtersonAntonia and Timothy Piwonka-CorleArthur and Ina RifkinJoanna and Mark RosenblumRuth Shanberge In Memory of Karen McMurrayMary and Andrew SkumanichTodd and Gretchen SlikerJan and Charles SquierShirley and Mark SteeleBerkley TagueBetty Lou ThackerMary and Peter Van EttenBetty Van ZandtChristopher and Leanne WaltherRita and Lawrence WeissJim and Nurit WolfBill Woo


GRUSIN MUSIC HALL CHAIR PURCHASES

If you would like to name a seat in Grusin Music Hall, please call

the College of Music Development Offi ce at

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Takács Scholarship in Memory of Fay ShwayderDuncan CampbellHarry CampbellMargaret and Edward CampbellNorma JohnsonJudith and Gary JuddJonathan Zeschin, Essential Advisors

Chair named In Memory of Joyce Gellhorn Anonymous Linda Boley Alice and William Bradley Ted Engelmann Arthur and Madeline Estin Janice Harvey Jennifer Kamper Jane and Roger Larson Alice Levine Ruby Marr Judi Oser Julie Phillips Barbara Roach Margie Warsavage

Jane Byers Charles (Chuck) ByersFrances DahlbergMadeline Day Madeline Mahr Day Patsy Lynch WoodL. E. Gatterer Larry Gatterer Charlene GattererLloyd and Mary GelmanDoree Hickman Doree Hickman Jerry HickmanGeorge Lichter George Lichter FamilyAlice and Judah Levine In Memory of Joyce GellhornMaxine Mark In Memory of Thomas R. MarkMaxine MarkKris McCusker In Memory of Phyllis Sweetland McCuskerLise MennValorie Mooney Valorie Mooney William MooneyMutsumi Moteki In Memory of Hugh and Juanita KirtleyRebecca Roser In Memory of Pearl and Mel Pedgrift In Honor of Professor David KorevaarEdith Stevens In Memory of Richard C. McLeanTheory Department In Honor of Dean Daniel SherTravis Vardell Kenneth A. Vardell

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Boulder Piano Gallery is a hub of musical activity in Boulder County and the premier place to purchase a �ine quality new or used piano.

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.

Now carrying the gorgeous hand-built Shigeru Kawai grand pianos!

FRIENDS OF CU OPERAThe CU Opera Program is recognized nationwide as one of the fi nest programs of its kind in the country. Its success is a refl ection 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 offi ce at 303-735-6070.

Corporate and Foundation SupportAcademy Retirement CommunityAetna Foundation, Inc.Blackhawk TrustBoulder Valley Rotary ClubColorado Academy of Lifelong LearningDenver Lyric Opera GuildFrasca Food & WineJAS VenturesPolk Family Charitable FundLouis and Harold Price FoundationThe Schramm Foundation

The following have permanentendowments established in recognition of CU Opera, its donors and its students.

Nancy and Ted Anderson Music AwardsDaryl and Lauren Boyle Music Theater ScholarshipDaryl and Lauren Boyle Voice ScholarshipDeWitt and Billie Marie Brennan Memorial Music ScholarshipBerton Coffi n Graduate Scholarship in VoiceBerton Coffi n Fellowship FundViola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. NorblomWilma and Perry Louis Cunningham Scholarship in VoiceBarbara M. Doscher ScholarshipWallace F. Fiske Performance AwardsAnn and Gordon Getty FoundationDennis Jackson Opera ScholarshipDale R. Johnson Opera ScholarshipLacy CU Opera EndowmentEd and Kay McDowell Opera EndowmentClaudia Boettcher Merthan Vocal ScholarshipTrudi Mielziner Graduate Opera ScholarshipCharlotte Orr Reid Memorial Vocal ScholarshipGregory Philip Ranno Excellence in Music ScholarshipAnthony and Dorothy Riddle Lyric Theater Performance PrizeWilliam Earl Rose, Sr. Scholarship FundGalen & Ada Belle Files Spencer FoundationBeth and Bill Suitts CU Opera EndowmentHoward B. Waltz Music ScholarshipPaula Marie and H. Rolan Zick Endowment

Allen Family FundBob GrahamLouis and Harold Price FoundationAnn Oglesby and Denny BrownGalen & Ada Belle Spencer FoundationAcademy Retirement CommunityThe Schramm Foundation

Denver Lyric Opera Guild

Eleanor CaulkinsChris and Barbara ChristoffersenBetsy and Albert HandRobert and Mikee KapelkeRotary Club of Denver FoundationAlan and Martha Stormo

Mark and Margaret CarsonJames and Sally KneserTheodore and Ruth SmithLawrence and Ann Brennan ThomasElizabeth and George Ulbrick

A FriendJason and Elizabeth BaldwinColorado Academy of Lifelong LearningJeanine Forman-HamLloyd and Mary GelmanCurtis and Mary HillHarold and Joan LeinbachRobert and Patricia MeyersDavid and Ann PhillipsDaniel and Boyce SherPeter Wall

Judith Auer and George LawrenceJames and Judith BowersAllene CashWallace and Beryl ClarkStephen DiltsJ. Michael DorseyWalter and Mary-Ruth DuncanEllen and John GilleJudy GouldJanet HanleyBarbara and John HillPam Jones and Mark BianchiSusan and Albin KolwiczMarion and Frank KreithC. Nicholas and Mollie Lee In Memory of Waye B. DanielsPatricia and Robert LisenskyHeidi and Jerry LynchBruce and Jeanette MackenzieJanet and Scott Martin In Memory of Karen McMurry

CORPORATE, FOUNDATIONS, AND ENDOWMENT SUPPORT

BENEFACTOR

SPONSOR

PATRON

SUPPORTER

CONTRIBUTOR

MEMBER

Marian MathesonByron and Catharine McCalmonDenise McCleary and Paul Von BehrenMargaret OakesRobert and Marilyn PeltzerDennis PetersonGail Promboin and Robert BurnhamAlicia and Juan RodriguezAndrew and Mary SkumanichJoyce Thurmer In Memory of Karen McMurryRichard and Caroline Van Pelt


VOCAL ADVISORY BOARD

Lawrence H. AndersonStephen BrunsNicholas R. CarthyMartha Coffi n Evans, chairLissy GarrisonLeigh K. HolmanGlenny LeGendreKathleen M. NessAnn OglesbyShirley J. RiggsStephanie RudyJulie Ann SilverReed F. Williams

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Dizzy’s makes hand crafted, gourmet donuts, using only the finest ingredients.

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table. Excludes Specialty Dinners and take-out. Please computegratuity on pre-discount amount. Expires November 14, 2013.

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921 WALNUT STREET | 303.443.1188 | CHOPHOUSE.COM

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Located in the heart of downtown, Boulder ChopHouse & Tavern features a classic steak menu with ever-changing

local and organic ingredients. Join us on our patio, in our bar, for happy hour, or any night for dinner.

Bring in your program or ticket stub and receive 20% off your bill

1132-1 W. Dillon Rd.Louisville, CO 80027

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303.492.8008 www.cupresents.org

CU OPERA 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.

G

La Bohème (sung in Italian)

by Giacomo Puccini

Directed by guest artist Paolo Panizza

In the Latin Quarter of Paris, Rodolfo the idealistic poet falls in love with Mimi, a frail but resolute milliner. Around their tender love story, Puccini depicts the exuberant lives of struggling young artists, expressing joie de vivre, love, and ultimately heartbreak.

October 25, 7:30 p.m.October 26, 7:30 p.m.October 27, 2 p.m.Macky Auditorium

OPERA SCENESDecember 9, 7:30 p.m.Music TheatreFree and open to the public

Hansel and Gretel(sung in English)

by Engelbert Humperdinck

Humperdinck’s enchanting opera of the classic Grimm fairy tale follows two children into the forest, where they fi nd a gingerbread house . . . and its hungry witch.

March 14, 7:30 p.m.March 15, 7:30 p.m.March 16, 2 p.m.Macky Auditorium

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 best-known 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

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Global performance. World-class entertainment.Global performance. World-class entertainment.You have to be here.2 0 1 3 – 2 0 1 4 S e a s o n

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4/5 Eddie Palmieri Salsa Orchestra

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CU Presents Magazine Takács Fall 2013, Sept. 15-16

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