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Tuesday, February 8, 2022, 7:30 pm University of Connecticut School of Fine Arts Anne D'Alleva, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents
UConn School of Fine Arts Faculty Showcase: Innovations Music for Two Pianos
Angelina Gadeliya, piano
Vladimir Valjarević, piano
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PROGRAM Larghetto and Allegro in E-flat Major Wolfgang Amadeus Mozart (1756-1791) Réminiscences de Don Juan, S. 656 Franz Liszt (1811-1886) La Valse for Two Pianos Maurice Ravel (1875-1937) -IntermissionSuite No. 2 Op. 17 for Two Pianos Sergei Rachmaninoff (1873-1943) I. Introduction (Alla Marcia) II. Waltz (Presto) III. Romance (Andantino) IV. Tarantella (Presto)
Variations on a Theme by Paganini for Two Pianos Witold Lutoslawski (1913-1994)
ANGELINA GADELIYA Praised for her "rich and resonant sound" (The New York Sun) and her ability to "make music speak" (The Gazette, Colorado Springs), pianist Angelina Gadeliya leads a rich musical life as a soloist, chamber musician, new music expert, and educator. Her work with Ensemble Connect and the NYC-based Decoda ensemble has frequently brought her to the stages of Carnegie Hall and the Juilliard School, as well as to Germany, South Korea, Abu Dhabi, Princeton University, the Trinity Wall Street series, and various New York locales. Ms. Gadeliya’s recent performances also include solo and chamber music recitals in such venues as New York’s Alice Tully Hall, Carnegie’s Weill and Zankel Halls, the Curtis Institute of Music, the Longy School of Music of Bard College, Beijing National Center for the Performing Arts, Bowling Green State University, the New York Historical Society, Penn State, and Merkin Recital Hall in NYC. Her festival affiliations include the Beijing International Music Festival and Academy, The Connecticut Virtuosi Chamber Music Festival, and she has
also appeared at such festivals as the Bach Festival of Philadelphia, the Dakota Sky International Piano Festival, the Beethoven Master Course in Positano, Italy, the Philadelphia Chamber Music Society, the Greenbox Arts Festival in Colorado, the Reynosa International Piano Festival in Mexico, David Dubal’s lecture series at the Metropolitan Museum of Art, and the 2007 Emerson String Quartet's Beethoven Project at Carnegie Hall. Ms. Gadeliya has appeared as soloist with orchestras across the US and has collaborated with such artists as Lucy Shelton, Jean-Michel Fonteneau, James Conlon, David Stern, Andrew Manze, Paul Nadler, David Bowlin, principal players of the New York Philharmonic, and the internationally acclaimed Mark Morris Dance Group. Ms. Gadeliya is the Co-Artistic Director of the Connecticut Bach Festival and Competition and serves as the President of the Fryderyk Chopin Society of Connecticut. Ms. Gadeliya is a passionate advocate of new music and has worked closely with composers Frederic Rzewski, Richard Danielpour, John Harbison, John Adams, Thomas Adès, Steve Reich, Steven Mackey, Matthias Pintscher, Ofer Ben-Amots, and others. She has recorded for the Labor Records and Naxos labels. She holds degrees from the Oberlin Conservatory, the Juilliard School, Mannes College, and has a Doctorate from Stony Brook University. Ms. Gadeliya is currently serving as the Assistant Professor in Residence of Piano and Director of Keyboard Studies at the University of Connecticut in Storrs, where she resides with her husband Misha and their three children, Felix, Anastasia, and Luke. Her performances have been featured on New York’s WQXR as well as WWFM radio stations. For more information, please go to www.angelinagadeliya.com.
VLADIMIR VALJAREVIĆ The critics have praised pianist Vladimir Valjarević for his “caressing legato,” “silk-on-velvet seductiveness” (Fanfare Magazine), “beautiful lyricism and ... wide variety of tones and colorings, perceptively applied with care” (All Music Guide). He has also been called “an outstandingly responsive partner and superb tonalist” (The Strad). His performances have taken him to the National Center for the Performing Arts in Beijing, Xi'An Concert Hall in Xi'An, Sumida Triphony Chamber Hall in Tokyo, Leiszhalle in Hamburg, Conservatory Hall in Geneva, Heilig-Kreuz-Kirche in Berlin, "Kolarac" Hall in Belgrade, Concert Hall "Bulgaria" in Sofia, Conservatory of Music in San Juan, Puerto Rico, the Manchester Music Festival in Vermont, the Southwest Virginia Festival for the Arts, French and Swiss Embassies in Washington, D.C. In New York, he has performed at Bargemusic, “Concerts at One” at Trinity Church, “Meet the Virtuoso” at the 92nd Street Y, the Weill Recital Hall
at Carnegie Hall, Merkin Hall, Steinway Hall, the Yamaha Salon, the United Nations, and the New School’s Tishman Auditorium, among others. Mr. Valjarević has collaborated with many contemporary composers in projects including commissions, recordings, world premieres, and has recorded for Labor Records, Romeo Records, Centaur Records, Blue Griffin, and MSR Classics. He has performed extensively as a member of the Kaleidos Duo, with violinist Miroslav Hristov, and The Hudson Piano Trio. Mr. Valjarević teaches piano at Mannes School of Music (College, Prep) and Mason Gross School of the Arts at Rutgers University, and piano literature and pedagogy at Mannes. He was the teaching assistant to Pavlina Dokovska for over a decade and still continues a close collaboration with her in pedagogy and performance. His festival affiliations include Beijing International Music Festival and Academy, and Xi'An Music Festival in China, Round Top in Texas, International Institute for Young Musicians in Kansas, International Keyboard Institute and Festival in New York. He has given piano masterclasses and lectures on piano pedagogy in the US and China, including a presentation at the Music China World Fair in Shanghai. Mr. Valjarević studied in his native Bosnia, at Belgrade Conservatory (Serbia), Mannes School of Music (BM & MM), Mason Gross School of the Arts at Rutgers University (DMA) and at Geneva Conservatory in Switzerland, as a winner of the Fulbright Award and the Swiss Arts Government Grant. His primary piano instructors are Pavlina Dokovska, Pascal Devoyon, Susan Starr, and Planinka Jurisic-Atic. While in Geneva, he received clavichord lessons from Nicole Hostettler at the Centre de Musique Ancienne. Festivals include IMS Prussia Cove in England, the American Conservatory in Fontainebleau, France, the Apeldoorn Festival in the Netherlands, the International FestivalInstitute at Round Top in Texas, the International Keyboard Institute and the Beethoven Institute in New York, Kneisel Hall in Maine. As a soloist and chamber musician, he has won numerous prizes at National Competitions in the former Yugoslavia as well as at the “Citta di Stresa” and “Citta di Marsala” International Competitions for the Young in Italy. Vladimir Valjarević is a Steinway Artist.
Tuesday, February 8, 2022, 7:30 pm Jorgensen Center for the Performing Arts
UConn School of Fine Arts Faculty Showcase: Innovations - Music for Two Pianos PROGRAM NOTES Larghetto and Allegro in E-flat Major Wolfgang Amadeus Mozart (Born January 27, l756, in Salzburg; died December 5, 1791, in Vienna) The manuscript of Mozart’s two-piano Larghetto and Allegro was unearthed by German musicologist Gerhard Croll from archives in Kremsier, Czechoslovakia. Although it had been mistakenly thought to have been the work of Gluck, it was it was found to be unmistakably written in Mozart’s hand, most likely in 1781, when he became interested in writing for two pianos. The artistic value of the fragment was deemed to be unquestionable, as it presents the 25-year-old at the height of his creative powers. The Larghetto is complete but the Allegro breaks off where the development section should start. It is unclear why this brilliant piece was not completed. It is in the same key as the two-piano concerto K.365, and perhaps the resemblance of the opening theme to the main theme of that concerto, written two years earlier, irritated him. It appears that it, in its two-piano form without orchestral accompaniment, was given by Mozart’s widow, Costanze, to the composer’s friend and musical executor Maximilian Stadler (1748-1833) along with other fragments to be completed. Stadler filled in a few places in the Allegro’s opening and completed the development and recapitulation and enlarged it into a work for two pianos with orchestra. It has been said that the influence of Mozart’s comic opera writing is evident in the work as the Larghetto is an expressive arioso, and the spirited Allegro has the qualities of an opera buffa scene. The writing for the pianos is fluent and elegant, with scintillating dialogue between the two. Stadler’s handwriting is clearly distinguishable from Mozart’s, but unfortunately, his work is unimaginative and does not do credit to Mozart’s spirited work. Had Mozart himself completed it, it probably
would have had a new theme introduced in the development, something fairly usual in Mozart’s practice. In the latter half of the 20th century, both Paul Badura-Skoda and Robert Levin have “rewritten” the Stadler parts. Badura-Skoda added his own theme, only to find out weeks later, that what he had used was an original Mozart theme, which, he feels, connoisseurs of Mozart will recognize. In the Allegro, Mozart’s rhythm in the theme of the exposition in the 2nd piano part invites polyphonic imitation; Badura-Skoda has added some, although he follows what Stadler already had done, making only a few alterations, for much of the recapitulation. Overall, the publisher describes what he has created as “bouncy and involv[ing] lot of fluttering notes with staccato punctuated throughout.” Adding the new theme in the development to provide contrast also adds additional lyricism. Reminiscences de Don Juan based on Mozart’s Don Giovanni Franz Liszt (Born October 22, 1811, in Raiding, Hungary; died July 31, 1886, in Bayreuth, Germany) Over the course of his career, Franz Liszt wrote piano display pieces in which he used themes from operas as thematic foundations. Among the composers whose operas he used are Bellini, Donizetti, Halevy, Meyerbeer, and Mozart. These compositions he called variously by such names as divertissements, fantasies, illustrations, paraphrases, and reveries and reminiscences. Reminiscences de Don Juan de Mozart is an extended composition that treats three important musical and dramatic aspects of the opera, Don Giovanni. Like Mozart’s Overture to Don Giovanni (Don Juan is the French version of the Italian name, Don Giovanni), this work begins with a slow introduction based on the solemn music of the statue that comes to life at the end of the opera. The central section of the Reminiscences, a kind of second movement, presents the melody of the renowned duet of the Don and Zerlina, “La ci darem la mano,” as well as two extended variations on it.
La Valse, Choreographic Poem, for piano four-hands Maurice Ravel (Born March 7, 1875, in Ciboure, France; died December 28, 1937, in Paris) In 1906, Ravel wrote to a friend that he was contemplating a musical homage to Johann Strauss, a waltzing symphonic poem to be called Wien (“Vienna”). “You know my affinity for those wonderful rhythms,” he said, “and that I value the joie de vivre expressed by the dance is much more profound than our French puritanism.” By 1914 he had created a sketch for the work, but World War I and failing health intervened, and he did not work on it again until after the war. La Valse developed from a piano piece to an expanded score for two pianos, and finally into a colorful orchestral score. In the winter of 1919-20, Ravel converted the initial sketch into La Valse, a “choreographic poem,” partly in honor of the waltz king, Johann Strauss. Before the World War made it inappropriate for him to write music solely in honor of an Austrian composer, he described it as “a kind of apotheosis of the Viennese waltz.” He went on to describe the programmatic nature of the music: “Through whirling clouds, glimpses of waltzing couples are faintly seen. The clouds gradually scatter. An immense hall becomes visible, peopled with a circling crowd. The scene is gradually illuminated. The light bursts forth from the chandeliers at the fortissimo. An Imperial Court, around 1855.” [Abridged] As the score evolved, Ravel changed the name from its original Wien and began to think of it as a choreographic work in which the main character would dance herself to death. La Valse builds to a large crescendo, developing from the motives heard quietly rumbling at the beginning. First, in the form typical of the Viennese waltz, Ravel introduces several themes, each based on a different melody. In the work’s center, the themes return in fragments, no longer retaining the rhythmic flow of the waltz. The music becomes transformed harshly, and demonic dissonance is interjected. Rhythms become irregular as tension mounts, and the waltz is forever broken apart as a five-note motive work dominates and carries the forceful, disturbing work to its end. Overall, the effect Ravel produces is the sense of motion at once erotic, delirious, and somehow fantastic, surreal yet uncannily remote. Musicologists have often hypothesized that La Valse expresses Ravel’s grief and sense of disorientation after the death of his mother and in the aftermath of World War I.
At first, Ravel made a version for piano, two hands, and then he followed it by one for two pianos, which was first performed in Vienna on October 23, 1920 by Ravel and his friend the composer Alfredo Casella. (Lucien Garban, Ravel’s friend and editor at Durand & Co., finalized the four-hand transcription which you will hear in this concert. Garban and Ravel met as students in the composition class of Gabriel Fauré in 1897 and remained close throughout their lives.) The orchestral version did not premiere until the following year at a Lamoureux concert conducted by Camille Chevillard. Serge Diaghilev, the director of the original Ballets Russes, for whom Ravel had written Daphnis et Chloé, was interested in La Valse for a ballet, but when he heard the composer and a friend play through it at two pianos, he said it was a “masterpiece. . . but not a ballet” and decided it would not be effective as dance. Ravel became furious, picked up his music, and left the room, and the rift between the two became so deep they never spoke or collaborated again. History has, of course, proved the inimitable Diaghilev wrong, for Nijinska, Fokine, and Balanchine all successfully choreographed La Valse. Suite No. 2 for Two Pianos, Op. 17 Sergei Rachmaninoff (Born April 1, 1873, in Oneg, Russia; died March 28, 1943, in Beverly Hills, California) One of Sergei Rachmaninoff’s earliest memories was that of playing duets at the piano with his grandfather. Later, he became an extraordinary pianist, an admired composer, and a conductor competent enough to have been offered the direction of the Boston Symphony Orchestra. Yet despite his heavy schedule of concert performances, Rachmaninoff wrote a great deal of music: four piano concertos, three symphonies, three operas, many other works in diverse forms, and a large number of songs and piano pieces. The great melodic power and the rich, characteristically Russian sonority of his music gave it great popularity here as well as in Europe and Russia. After he left Russia in 19l7, the United States became his permanent home. When his Symphony No. 1 was not a success in 1897, Rachmaninoff became so depressed that he nearly ended his musical career, but, in 1900, his family and friends sent him for help to Dr. Nicolai Dahl, who practiced a kind of hypnotic auto-suggestion. Fortunately, Dr. Dahl was also an understanding, sophisticated music-lover, a talented amateur violinist who often invited conservatory students for chamber music
parties at his home. Rachmaninoff’s treatment eventually persuaded the composer that he had not permanently lost his creative energy, and, within a short time, Rachmaninoff was well underway composing what became one of the best loved of all his works, the Piano Concerto No. 2. That December, he also began to write his Suite No. 2 for Two Pianos, and in April 1901, he had completed it. Rachmaninoff and Alexander Siloti played its first performance in Moscow. Rachmaninoff had plans to orchestrate this suite but never found the time to do so. The Suite shares very much the same style as the Concerto, and it contains just as much difficulty, and pianists find it just as gratifying to play. The complex writing for the two players is so intricate and so closely knit that the music sounds as though it is being played on one huge piano by many more than twenty fingers. The work contains many luxuriant, lyrical melodies as well as much florid and complex passagework, driven along with Rachmaninoff's characteristic rhythm. It is effective on many levels and one of his most successful works. An energetic Introduction: March opens the Suite in a simple three-part form, followed by a brief coda. A Waltz, the next movement, has a hypnotic feel, with its rhythm giving it almost a breathless quality. The middle section of the movement is quite lyrical, yet it never loses its underlying rhythmic drive. The third movement, Romance, an Andantino, has a fanciful melody that seems to grow out of the arpeggio accompaniment. The middle of the movement takes on a yearning character, and the end rises to an ecstatic climax. The last movement of the suite is a Tarantella, based on the characteristic Italian folk dance. Moving the work to its completely effective and virtuosic coda are driving rhythms and powerful intermediate climaxes as well as episodes of delicacy. Rachmaninoff dedicated the Suite to Alexander Goldenweiser, the pianist who had been his friend since their days together at the Conservatory. Variations on a Theme by Paganini Witold Lutoslawski (Born January 25, 1913, in Warsaw; died there on February 7, 1994) Some of the most advanced and most successful music written in Europe within a generation after World War II came from Poland. It is well-known that the music of the former Soviet Union, although often vital and even important, remained firmly based on traditional materials and methods of musical composition with a few exceptions. There was no equivalent,
even in such musical nations as what were then Czechoslovakia, the German Democratic Republic, and Hungary, of the Polish eruption of fresh musical thought, and the resultant splendid compositions that followed the political and cultural upheavals that occurred there in 1955 and 1956. The Association of Polish Composers soon organized the Warsaw Autumn International Festival of Contemporary Music, which presented the latest, most advanced artistic inventions from Western Europe. The young Polish composers learned from what they heard, and soon Westerners were going to Warsaw to hear their works. The Festival was the only one of its kind in Eastern Europe, and Poland’s were the only composers from Eastern Europe from whom music of high worth regularly appeared that could stand up to recent technical and aesthetic avant-garde compositions from elsewhere around the world. Lutoslawski was one of the leading figures among Poland’s older “new” composers. He was born into a family of scholars, entered the Warsaw Conservatory as a composition student at fifteen, and, for a while, also studied mathematics at the University of Warsaw. Most of his early work, which was traditional in character, was destroyed during the Second World War. In the late 1940’s, he started to write in a new style, using Polish folk material in a manner modeled after Bartók’s use of Hungarian folk music. The composer described the genesis of this work during World War II: “The occupying Germans banned musical life in Poland. It was Hitler’s plan to annihilate the Polish nation completely. Officially there was no cultural life but it went on in secret, in illegal concerts. Cafes were allowed to function so the best artists played in the cafes. I played piano duets with the composer Andrzej Panufnik, and we made over two hundred arrangements for two pianos. We started with Bach and got up as far as Ravel and Debussy. Unfortunately, almost all of those transcriptions were burned during the Warsaw uprising in August 1944, which put an end to our activity.” [Adapted] One work that was saved was Lutoslawski’s 1941 version of Paganini’s popular Caprice No. 24, originally for unaccompanied violin, which became this brilliant set of variations on Paganini’s well known and widely used theme. Notes by Susan Halpern 2022.
CoSt ★rs Jorgensen Center for the Performing Arts
2021 - 2022 Chair: Lin Klein $500 per person, $1,000 per couple Elena Sevilla & Paul Aho Mona & Greg Anderson Deborah Walsh Bellingham In Memory of Dr. Bruce A. Bellingham Honey & Harry Birkenruth Ruth Buczynski Carol Colombo In Memory of Paul Colombo Anne D’Alleva Madison & Bob Day Susan & John DeWolf Pamela Diggle Judy & Peter Halvorson Patricia Hempel
Gene E. Likens & Shareen Hertel & Leola G. Spilbor Donald Swinton Sue & Lester Lipsky Marsha Hilsenrad Margarethe & Jan Huber Matthew Mashikian Blair T. Johnson & Joan McGuigan Blanche Serban Antonia Moran Lynn & Harry Johnson Jane & Robert Moskowitz Janet & George Jones Rita Pollack Catherine & Davey Kalonia Constance & Rodney Rock Lin & Waldo Klein Nancy & John Silander James Knox Beverly Sims & Becky & Scott Lehmann William Okeson Jean & John Lenard Anne & Win Smith Maurice Thompson
Join the CoStars, Jorgensen’s Active Volunteers! The CoStars is a special group of volunteers who generously donate not only $500 per person, but also their talent and time. The invaluable CoStars support Jorgensen through community advocacy by creative fund-raising activities, and by hosting pre- and post-concert receptions that often feature world-class luminaries. The CoStars have been instrumental in the purchase of the new portable chamber stage and acoustical shell, a new Steinway Model D Concert Grand Piano, funding the JOY! Conservatory Program, the installation of the exterior Jorgensen message center, the renovation of the Jorgensen Gallery, and continued support of Jorgensen programming. By becoming a CoStar, you’ll join with other vibrant, thoughtful and devoted arts lovers who have made Jorgensen’s success a priority. CoStars receive an honorary membership in the Jorgensen Circle of Friends at the Producers Circle level. Benefits include early ticket ordering privileges for one full year from the date of enrollment; reserved lower-level parking in the North Garage, providing a speedier exit after each Jorgensen event; and recognition in the Jorgensen playbill.
As a Special Thank You... An Invitation to the CoStars CoStar members receive an exclusive invitation to attend the Annual Sneak Peek hosted by Jorgensen Director Rodney Rock. This party offers attendees an exciting preview of the coming season – prior to the public announcement. Join the CoStars and be the first to know what’s new! If you are interested in becoming a CoStar, please contact Rodney Rock at 860-486-1983, or by e-mail at rodney.rock@uconn.edu.
Jorgensen
Circle of Friends 2021-2022 Become a Friend of Jorgensen!
We invite you to join Jorgensen’s Circle of Friends, a group of generous arts supporters who over the years have made vital contributions to Jorgensen’s special projects, commissioned works, and interior restorations. Your membership in the Circle of Friends entitles you to early ticket ordering privileges for one full year from the date of your enrollment; you will be recognized in the Jorgensen Playbill; and if you contribute at the Directors or Producers Circle levels, you will enjoy reserved parking in the North Campus Parking Garage for each Jorgensen performance you attend. Please consider making your tax-deductible donation and become a Circle of Friends member today. Simply call 860-486-4226 for more information.
Jorgensen Center for the Performing Arts gratefully acknowledges the support of its Friends. Producers Circle
$500/person $1,000 & above/couple Elena Sevilla & Paul Aho* Mona & Greg Anderson* Deborah Walsh jjjjjjjjjjjjjBellingham* In Memory of Dr. Bruce A. jjjjjjjjjjjjjjjjjjjjBellingham* Honey & Harry jjjjjjjjjjjjjjjjBirkenruth* Ruth Buczynski* Carol Colombo* In Memory of jjPaul Colombo* Dr. Michael Cucka Anne D’Alleva* Madison & Bob Day* Susan & John DeWolf* Pamela Diggle* Kenneth A. Doeg Ms. Joan N. Gionfriddo Judy & Peter Halvorson* Patricia Hempel* Shareen Hertel & jjDonald Swinton* Marsha Hilsenrad* Jan Huber* Blair T. Johnson & jjBlanche Serban* Lynn & Harry Johnson* Janet & George Jones* Catherine & Davey Kalonia*
Lin & Waldo Klein* James Knox* Becky & Scott Lehmann* Jean & John Lenard* Gene E. Likens & Leola G. Spilbor* Sue & Lester Lipsky* Margarethe & Matthew Mashikian* Joan McGuigan* Antonia Moran* Jane & Robert jjjjjjjjjjjjjjjjMoskowitz* Craig & Karen Nass Rita Pollack* Barbara Rhein & Stan Shaw Constance & Rodney Rock* Nancy & John Silander* Beverly Sims & William Okeson* Anne & Win Smith* Maurice Thompson* Maureen & John Zavodjancik Two Friends * Members of the jjjjjjjjjJorgensen CoStars
Directors Circle $250/person, $500/couple
Anonymous Phil Brencher Irene & Richard Brown
Lynn & Marjorie Brown Barbara Depray & Steven Rogers Rob & Mary Hoskin Mr. David Johnson David & Carol Jordan Ann Kouatly Tom Martin & Susan Spiggle Carl Nawrocki Cheryl & Mark Roy Bonnie Ryan Paul & Susan Schur Nancy Swiacki Ms. Gretchen Wiedie Keith Wilson & Majorie Hayes
Artists Circle $125/person, $250/couple
Cynthia & Roger Adams Neil Aldin & Mary Lou Lacek Ms. Pat Anderson Dorothy Blocker Linda & Bennett jjBrockman Carol & Carl Brolin Dr. & Mrs. Steven & jjElaine Cohen Maryellen Donnelly & jjJames Krall M. Kevin & Jeanne Fahey Mrs. Betty Hale Betty & Kenneth Hanson
Jan Huber Ms. Hillary Huttenhower Ms. Linda Keenan Arthur Kirschenbaum & jjCheryl Pomerantz Gerald & Zoe Leibowitz Julia J. & jjCarl W. Lindquist, MD Margaret Malmborg Len Oberg Daryl & Paul Ramsey Mrs. Kristin D. Santini Eric Schultz & jjStella Ross Harriet Walker
Patrons Circle $50/person, $100/couple
Roger & Tina Abell Sheila Amdur & Marcia Neff Rosemary Andle Robert Bittner Susan & John Boland Paul M. D’Italia Mr. & Mrs. Michael Donnelly Ms. Joyce Donohoo Mr. & Mrs. Rudy J. Favretti Andrew & Kristie Foley Lorraine B. Gallup Jeanne Haas Richard & Karin James
Mrs. Joseph E. Kenyon Shoshanna Levinson & jjChris Crossgrove John H. Mayer & Irwin Krieger Rev. & Mrs. Donald & Marilyn Miller Dr. & Mrs. Clark Moseley Sean Mulcahey Susan Phillips Ms. Janet Scussel Jacqueline Seide Paul & Annette Shapiro John & Marilyn Shirley Dr. Jay Shivers In Memory of Rhoda Shivers Joanne Sousa Susan & Julian jjStoppelman Adeline Theis Ms. Susanna Thomas Dr. & Mrs. Joel Zuckerbraun
Critics Circle $25/person, $50/couple
Dr. & Mrs. Ed & Susan Grace John & Lynn Haney Mr. Henry Krisch Mr. & Mrs. Joseph Linonis Mr. & Mrs. Wesley Lord Joe & Nancy Madar Ms. Donna Matulis Katherine & Alan Miller Sari & James Rosokoff Patricia Tanaka
Director’s Fund
Anonymous Mona & Greg Anderson In honor of Giovanni Favretti & in jjjsupport for the Arts Diane & Joseph Briody Maidie Cohen Carol Colombo Mr. Thomas French Jennifer & Eric Person Nancy & John Silander NICABM: Donation from jjDr. Ruth Buczynski The Verizon Foundation
Anonymous Mr. & Mrs. Philip & Piano Maintenance jjDorothy Bognar Fund Joan Buck Mayer & Mrs. Kathleen Donahue John Irwin Krieger Howard & Carol Drescher
Endowed Sponsorship Program The Endowed Sponsorship Program provides individuals and families with the opportunity to support Jorgensen by sponsoring any concert or other program. Benefits to Endowed Sponsors will include name recognition in the Jorgensen playbill, additional recognition in the community through press releases provided by the University, and an opportunity to visit with the guest artist. Sponsorship could be a means of celebrating a special holiday or anniversary, or of dedicating an event to a loved one. Most importantly, by contributing to the cost of current programs, sponsors would help ensure that the Jorgensen Center for the Performing Arts will continue to present wonderful music and other programs in the future. Your gift would benefit not only Jorgensen, but also the community at large. Patrons interested in sponsoring an event should contact Rodney Rock at 860-486-1983 or rodney.rock@uconn.edu for further information.
Jorgensen Outreach for Youth Funded through private contributions as well as corporate support, JOY! provides school-age children, many from economically disadvantaged backgrounds, with access to live performances and special enrichment programs. Now in its 15th season, the JOY! Conservatory program offers instrumental and vocal students in grades 9-12 the opportunity for a rigorous course of study including private lessons, ensemble rehearsals and coaching, and basic musicianship courses. For more information, contact Jorgensen director Rodney Rock at 860-486-1983.
Corporate / Foundation Sponsors SBM Charitable Foundation
Diamond / $1000+ Carol Colombo Jean & John Lenard Nancy & John Silander Nora Stevens
Emerald / 600 +
Honey & Harry Birkenruth
Ruby / $300+
James Knox Becky & Scott Lehmann The University of Connecticut League, Inc.
Sapphire / $100+
Anne D’Alleva Carol & David Jordan Lin & Waldo Klein Jane & Robert Moskowitz
Pearl / up to $99
Gail & Lawrence Ash-Morgan Gail & Neil Christopher Gracie Martin
Lenard Chamber Music Endowment Fund The Lenard Chamber Series is made possible through the generosity of longtime patrons Jean and John Lenard and the Lenard Chamber Music Endowment. Thanks to the generous philanthropy of patrons Jean and John Lenard, chamber music, one of the hallmarks and most dearly loved elements of the programming at Jorgensen, is secure well into the future. Also thanks to the Lenard Endowment, UConn students, nonUConn students, and area youth are invited to attend all chamber music events for free. Please join this giving community and make your contribution today. To make a gift, contact Jorgensen Director Rodney Rock at rodney.rock@uconn.edu or 860-486-1983, or visit jorgensen.uconn.edu/online/article/lenard-endowment.
Jean & John Lenard Elena Sevilla & Paul Aho Greg & Mona Anderson Deborah Walsh Bellingham Ruth Buczynski Carol Colombo Anne D’Alleva Kenneth Doeg Judy & Peter Halvorson
Patricia Hempel George & Janet Jones Carol & David Jordan Lin & Waldo Klein James Knox June & Henry Krisch Becky & Scott Lehmann Shoshana Levinson & Chris Crossgrove
Julia J. & Carl W. Lindquist, MD Joan and Austin McGuigan Jane & Robert Moskowitz Lauren & Eric Prause Donald Shankweiler & Ruth Garrett Millikan John & Nancy Silander Beverly Sims & William Okeson Marilyn & Arthur Wright
POLISH WIENIAWSKI Philharmonic Orchestra
Mon, Feb 14 | 7:30 PM IN-PERSON & LIVESTREAM
jorgensen.uconn.edu Livestream Sponsor: NICABM Media Sponsors: The Chronicle, WHUS, and Seasons Media/CT Voice
ESME QUARTET
Tues, Mar 29 | 7:30 PM IN-PERSON & LIVESTREAM Co-Sponsored by UConn Asian American Cultural Center and UConn Women's Center Livestream Sponsor: NICABM Media Sponsors: The Chronicle, WHUS, and Seasons Media/CT Voice
jorgensen.uconn.edu The Lenard Chamber Music Series is made possible through the Lenard Chamber Music Endowment. Thanks to the Lenard Endowment, UConn students, non-UConn students, and youth under 18 are invited to attend all chamber events for free.
THE LENARD CHAMBER MUSIC SERIES
SPRING 2022
Esme Quartet
Tues, Mar 29 7:30 pm IN-PERSON & LIVESTREAM
Isabel Leonard, mezzo-soprano
Tues, Apr 5 7:30 pm IN-PERSON & LIVESTREAM
jorgensen.uconn.edu The Lenard Chamber Music Series is made possible through the Lenard Chamber Music Endowment. Thanks to the Lenard Endowment, UConn students, non-UConn students, and youth under 18 are invited to attend all chamber events for free.
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F O R YO U R I N F O R M AT I O N JORGENSEN BOX OFFICE (860) 486-4226 jorgensen.uconn.edu Phone Hours Mon-Fri, 10-5 pm, and 90 minutes before curtain through intermission. No in-person hours.
CHILDREN AND INFANTS Tickets are required for everyone, no matter how young. Children must be 4 years old to attend CRT productions. Minimum 4 years old recommended for Jorgensen Center events.
CRT BOX OFFICE (860) 486-2113 crt.uconn.edu PHONE HOURS Weds-Fri, 2-5 pm, and 60 minutes before curtain. No in-person hours.
REST ROOMS Located in the upper and lower Jorgensen lobbies and the CRT lobby. SPECIAL SERVICE Accessible rest rooms located in the lower Jorgensen & CRT lobbies. Elevator service goes from the main Jorgensen lobby down to the lower lobby only.
COVID-19 POLICIES: Please check our website for the latest policies and procedures: jorgensen.uconn.edu LATE ARRIVALS Latecomers will be seated at the discretion of the artists’ management. CAMERAS AND RECORDING DEVICES Strictly prohibited. SMOKING Not permitted within 25 feet of the building
ASSISTIVE LISTENING SYSTEM Free from the front office. TOO LOUD? Free hearing protection is available upon request from the front office. LOST AND FOUND ARTICLES Can be reported or picked up at each box office.
Community School of the Arts at Lenard Hall Visual Arts Programs & Private Music Instruction for All Ages! .
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GROUP TICKETS CRT: Call the group sales office for more information (860) 486-2113 BAG POLICY For the safety of all, bags and backpacks larger than 10” x 10” are prohibited in the theater. Small bags and purses are permitted. An exception will be made for medically necessary items and diaper bags after proper inspection. All bags are subject to search. PARKING & TRAVEL Paid parking available across from Jorgensen in the North Garage. For a detailed parking map, visit park.uconn.edu
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REFRESHMENT BARS Enjoy refreshments at your seat. Bars located In the upper Jorgensen and main lobbies of each theater. Food and beverage restrictions may apply due to Covid-19.
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