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Tuesday, March 29, 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
The Lenard Chamber Series
Esme Quartet Wonhee Bae, violin Jiwon Kim, viola
Yuna Ha, violin Ye-Eun Heo, cello
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PROGRAM String Quartet No. 21 in D Major, K. 575, "Prussian" Wolfgang Amadeus Mozart (1756-1791) I. Allegretto II. Andante III. Menuetto: Allegretto - Trio IV. Allegretto
String Quartet in G Minor, Op. 10 Claude Debussy (1862–1918) I. Animé et très décidé II. Assez vif et bien rythmé III. Andantino, doucement expressif IV. Très modéré-En animant peu à peu-Très mouvementé et avec passion - Intermission -
String Quartet No. 1 in D Major, Op. 11 Piotr Ilyich Tchaikovsky (1840-1893) I. Moderato e semplice II. Andante cantabile III. Scherzo. Allegro non tanto e con fuoco - Trio IV. Finale. Allegro giusto - Allegro vivace The Esme Quartet appears by arrangement with Christina Daysog Concert Artists and records for Alpha Classics.
Website www. esmequartet.com
BIOGRAPHY Winning the first prize and sweeping four of the special prizes, among them the Mozart and Beethoven prizes, at the 2018 London Wigmore Hall International String Quartet Competition the Esmé Quartet made a sensational entrance into the string quartet world. They were subsequently invited to tour internationally, playing concerts at festivals and concert halls such as Wigmore Hall and throughout the UK; the Lucerne Festival in Switzerland, Flagey Musiq3 Festival in Brussels, Auditori di Barcelona, Opéra de Lille, Heidelberg String Quartet Festival, Haydn String Quartet Festival at Schloss Esterházy in Fertöd, Hungary and Classic Esterházy in Eisenstadt,
Austria. In the summer of the same year, they were named as the Quartet-inResidence at the Aix-en-Provence festival and also appeared at the McGill International String Quartet Academy in Montreal. In 2019, the Quartet was awarded the HSBC Laureate of the Festival Aixen-Provence and the First Prize at the 55th Possehl Musikpreis Lübeck. They recorded their debut CD of works by Beethoven, Unsuk Chin, and Frank Bridge on the Alpha Classics label. The recording was released in early 2020 and has achieved critical acclaim with a five-star review from Diapason d’Or and was named as one of the best classical albums of 2020 by WQXR Radio in New York. They were named the first Artists-in-Residence at Lotte Concert Hall, Seoul, Korea for the 2020-2021 season and in October 2020, the quartet was awarded the Hans-Gál Prize by the Academy of Sciences and Literature Mainz and the Villa Musica Foundation. 2021 also brought return engagements to the Festival Musiq3, Wigmore Hall, along with return engagements in Germany and Portugal, and a tour of Italy. During the 2021-22 season, the Quartet will perform will make their debut tour of North America and Japan, along with performing at prestigious concerts venues such as Elbphilharmonie Hamburg and Schleswig-Holstein Musik Festival. The name of the quartet, "Esmé," is taken from the old French word meaning “Beloved.” Based in Germany, the group was formed in 2016 at the Hochschule für Musik in Cologne and is comprised of four Korean musicians who were friends since their youth and who shared common interests and passions in music, the arts, and life. The quartet has been mentored by artists such as Günter Pichler (Alban Berg Quartet), Alfred Brendel, Eberhard Feltz, Andraś Keller, Christoph Poppen and Jonathan Brown (Cuarteto Casals). Esmé studied with Heime Müller (Artemis Quartet) at the Hochschule für Musik Lübeck, Germany, and with Oliver Wille (Kuss Quartet) at the HMTM Hannover.
Tuesday, March 29, 2022, 7:30 pm Jorgensen Center for the Performing Arts
The Lenard Chamber Music Series
Esme Quartet PROGRAM NOTES
String Quartet No. 21 in D Major, K. 575 Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) Mozart, unlike earlier composers, was not employed by the church or court but worked as a free artist. Initially, his popularity as a composer, performer, and teacher produced sufficient income for him through commissions, but his quick rise to fame was followed by a decline. By 1788, his commissions had become greatly reduced and his financial situation had become difficult. In 1789, his pupil, Prince Lichnowsky (later an intimate of Beethoven) had become almost the only member of the Viennese nobility who continued to take an active interest in Mozart and understand his greatness. Lichnowsky took him to Berlin to meet the Prussian King, Frederick William II, a devoted music lover and amateur cellist. The King paid Mozart a moderate fee for a private concert at court and commissioned six string quartets for himself and six piano sonatas for his daughter, Princess Friederike. Mozart composed this quartet in June, a sonata for the Princess in July, two more quartets in early 1790, and then no more; he never completed the commission. Presumably, Mozart’s last three string quartets, known as the Prussian quartets, have a unique balance between each voice in the quartet (K. 575) and the lyrical and virtuosic writing for the cello. Music historians believe that the evolution of the use of the cello in chamber music, and even the equality of the voices, would perhaps not be as developed today without these last Mozart quartets. In these quartets, Mozart’s writing has acquired a new richness and body because he took great pains to give the royal cellist an active part with many solos. Here the cello, which was used traditionally as a basso continuo, was now often transformed into the solo voice; it could lead the melodies of the string quartet. Since Frederick William had much greater talent than most courtly dilettantes, Mozart provided him with elegant melodic material throughout. Every
movement includes prominent cello solos with the instrument at the top of its range, and to accommodate these, Mozart gives similar solos to the other quartet members but varies the line and texture to avoid repetitiveness. This quartet, a mature masterpiece like the final symphonies, shows a new strength. Its character is optimistic and playful. It features an old style of “singing” Allegro theme animated by appoggiaturas and rapid rhythmic figures. Because the second principal theme has such similarity to the first, Mozart adds variety to the short development section by choosing to introduce a completely new theme there. All the movements but the second are marked Allegretto. The second compact movement, Andante, is slow, but only relatively; its melody has similarities to the song, Das Veilchen, K. 476, Mozart’s only setting of a Goethe poem. Here, development is very important. The third movement, Minuet, includes strong sforzati, a loud accenting, almost like those Beethoven used. In the contrasting central Trio section, the cello has a prominent lyrical melody. In the last movement, the cello articulates the main theme, a recurring subject derived from the subject of the first movement. Counterpoint soon complements the theme, and the process repeats with different combinations of instruments. In addition, Mozart inverts the theme and establishes a Rondo with variations. String Quartet No. 1, in D Major, op. 11 (“Accordion”) Peter Ilyich Tchaikovsky (Born May 7, 1840, in Votkinsk, Russia; died November 6, 1893, in St. Petersburg) As a young man, Tchaikovsky seemed to be destined for an undistinguished career as a low‑level bureaucrat; he did not start to study music seriously until he was twenty‑one years old. Two years later, Nicolai Rubinstein helped find him some elementary pupils, so that he could devote his full time to music, and by 1866, he was well enough trained to join the faculty of the new Conservatory that Rubinstein started in Moscow. Before long he was also working on such large‑scale compositions as his first symphony, an opera, a piano sonata, and the first version of the ballet Romeo and Juliet. After a very expensive trip to Western Europe in 1870, Tchaikovsky decided to take Rubinstein's suggestion that he try to make some money by giving a concert of his own music. He engaged some locally popular singers to perform several short works, but, he decided the instrumental
music would be represented by a string quartet that he would write for the occasion since he could not afford to engage an orchestra. He went to work immediately on this String Quartet No. 1, completing it in February 1871. At the March 28th concert, it was performed in public for the first time by four of the composer's colleagues on the Conservatory faculty. The concert's greatest success, however, was in public relations rather than music. Ivan Turgenev, who was considered to be one of the greatest Russian writers, although he had lived abroad during much of his adult life, made an appearance at the concert. He arrived too late to hear the quartet, but it was said that he had come because of Tchaikovsky's high reputation in the West. The quartet later had another famous literary admirer in Leo Tolstoy, who sat beside the composer at a concert performance given in 1877. “Probably never in my life as a musician,” Tchaikovsky reported, “have I felt so flattered and so proud of my work as when Tolstoy, sitting beside me and listening to the Andante, burst into tears.” Later, alas, the composer was sorry to discover that the great Tolstoy had terrible taste in music. Interest in this quartet has long centered on the almost too popular slow movement, which now exists in hundreds and hundreds of versions. Its main theme is a Russian or Ukrainian folk song that Tchaikovsky had first noted during the summer of 1869 when he heard it sung by a workman at the country estate of a relative. The original song is said to have begun, “Vanya is sitting and smoking.” In some versions he is said to be drinking. In either case, it was an activity that hardly seems to be as highly charged with emotion as it appears in Tchaikovsky's version of it. Later, Tchaikovsky’s benefactress, Nadezhada von Meck, with whom he carried on a strictly epistolary intimacy, wrote that it affected her as a glass of strong drink might, and that when she played it on the piano, “at the end, this music sent a shiver through me from head to foot.” Elsewhere in the quartet, Tchaikovsky was striving to write in the spirit of his idols, Mozart, Beethoven, and Schumann, the romantic Classicists and the classical Romantics. The first movement, Moderato e semplice (“moderate and simple”), runs its course with two themes whose pulse is so flexible that one quickly loses track of meter and rhythm. The themes are developed with power and skill and then brought back again. The second movement is the famous Andante cantabile already mentioned. Its contrasting second theme, with the pizzicato accompaniment, is one
of Tchaikovsky's greatest inventions. Next comes a lively Scherzo, Allegro non tanto, with a contrasting central section; the quartet closes with a grand Finale, Allegro giusto, which is a classical rondo‑sonata combination using original tunes in folk character to make its way to the grand closing coda, Allegro vivace. String Quartet in G minor, Op. 10 Claude Debussy (Born August 22, 1862, in St. Germain-en-Laye, Yvelines, France; died March 25, 1918, in Paris, France) Debussy finished his only String Quartet in February 1893, and then he traveled to Ghent to visit the playwright Maeterlinck, whose Pelléas et Mélisande he wanted to adapt as an opera. He stopped in Brussels to show some of his works to the violinist Eugène Ysaÿe. In December in Paris, the Ysaÿe Quartet, to whom this work is inscribed, debuted this masterpiece. The music initially puzzled everyone: the audience, the conservative critics, and those in the vanguard, too. Perhaps the trouble was that Debussy had arrived at too advanced a solution to a problem not yet known to ordinary listeners. He was grappling with how to reconcile classical forms of chamber music, in which a high degree of independence among the movements exists, with his use of cyclical forms in which musical ideas are carried forward from one movement to the next. The master of cyclical form, César Franck, found Debussy’s Quartet too nervous, “all pins and needles,” he said, perhaps because the structure of the quartet fuses cyclical and variation form with a minimum of thematic development. Debussy makes great formal advances in this work. Even though it is his only published work in a specific key (because it has a key signature), it never really looks backward to traditional tonality. Debussy reuses fragments of melody in successive movements to give unity to the whole; he bases all four movements on a single theme plainly stated at the outset. The simplicity of this idea shocked early listeners who failed to grasp the nature of the piece. The execution of the idea was not simple because it places an enormous burden on the creative imagination. Debussy begins with a theme both original and striking, which the listener can retain and follow through its transformations and displacements, its dismemberment and its re-assembly, tracing it through changes of tempo and of mood. At the end, the listener feels the unitary power Debussy has created. Yet Debussy’s ideas are brief, taking
up only one or two measures, and he relies more on allusive connections than on repetition. Also, Debussy adapts procedures from other sources, especially from Wagner and the Russians, whose music he heard during his travels. He casts four movements in forms not very different from those of past masters, dressing his new ideas in warm colors and rich harmonies. His writing is intricate and elegant. With this work, Debussy moves chamber music into a new era of ambiguous impression and suggestiveness, which he evokes again a year later in Prélude à l’Après-midi d’un faune (“Prelude to the Afternoon of a Faun”). Debussy composed no more chamber music until 1915, and he never wrote another string quartet. He objected to the term impressionism, but it accurately defines his aesthetic. In this quartet, in Prélude à l’Après-midi d’un faune and in his opera, Pelléas and Mélisande, he frees musical language from tradition in his search for a music that he said is “supple enough to adapt itself to the lyrical effusions of the soul and the fantasy of dreams.” Paul Griffiths contends that Debussy’s quartet influenced the future of the string quartet by “indicating that new sounds could be achieved by forgetting the old conversational mode” as a result of the use of flexible speeds with many tempo changes within a section. Debussy also achieves a wide variety of texture by joining instruments together in different ways in a search for “fluidity, for constant alteration.” The first movement, Animé et très decidé, is firmly declarative, but turns vigorously rhythmic and gracefully lyrical. The main theme and the principal harmonic setting are based on the Phrygian mode. Debussy introduces many tempo changes, some unusually swift, as well as frequent rhythmic and modal recasting of the germinal theme. Then comes a playful scherzo, Assez vif et bien rytmé, in which a motif from the opening theme, speeded up, is restated repeatedly (an ostinato or repeated figure) with virtuosic pizzicatos. The germinal theme almost disappears from the slow, somewhat funereal third movement, Andantino doucement expressif, but frequent subtle hints of its elements remain. Debussy enhances the tone with mutes. As Griffiths notes, this movement is less innovative and more conventionally Romantic than the others. The repeated motif reappears in the finale’s slow introduction, Très modéré, and dominates the concluding movement, Très mouvementé et avec passion, which accelerates to the quartet’s end. Notes by Susan Halpern 2022.
A Lenard Chamber Music Series Event
Isabel Leonard mezzo-soprano
Tues, Apr 5 | 7:30 PM In-Person and Livestream
jorgensen.uconn.edu Livestream Sponsor: NICABM
Media Sponsors: The Chronicle, Seasons Media, WHUS, Connecticut Public, and the Journal Inquirer. Thanks to the Lenard Endowment, UConn students, non-UConn students, and youth under 18 are invited to attend all chamber event for free, including Isabel Leonard.
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 Bellingham* In Memory of Dr. Bruce A. jjjjjjjjjjjjjjjjjBellingham* Honey & Harry jjjjjjjjjjjjjjjBirkenruth* Ruth Buczynski* Carol Colombo* In Memory of Paul 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 & Donald 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 jjjjjjjjjjjjjjjMoskowitz* 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 Jorgensen CoStars
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$125/person, $250/couple Cynthia & Roger Adams
Neil Aldin & Mary Lou Lacek Ms. Pat Anderson Dorothy Blocker Linda & Bennett Brockman Carol & Carl Brolin Dr. & Mrs. Steven & Elaine 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. & Carl W. Lindquist, MD Margaret Malmborg Len Oberg Daryl & Paul Ramsey
Mrs. Kristin D. Santini Eric Schultz & Stella 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 & jjMarilyn 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 jjZuckerbraun
Critics Circle $25/person, $50/couple
Rabbi Jeremy Schwartz & jjMs. Merle Potchinsky Nancy & John Silander NICABM: Donation from j jDr. Ruth Buczynski The Verizon Foundation
In Memory of Joan McGuigan
Altrusa International of jjNortheastern CT Anonymous Deborah Walsh Bellingham Mr. & Mrs. Philip & Jan Blackburn jjDorothy Bognar Ramona M. Chaffin Joan Buck Carol Colombo Mrs. Kathleen Donahue Mr. & Mrs. Allen & Risha Deary Howard & Jean Esselink Carol Drescher Barbara Gibson Dr. & Mrs. Ed & Mrs. Helen Hill Susan Grace Janet & George Jones John & Lynn Haney Christine Lamb Mr. Henry Krisch Mrs. Lucinda Lukens Mr. & Mrs. Joseph Linonis Harry & Janice Mazadoorian Mr. & Mrs. Wesley Lord Charlene & Sean McLaughlin Joe & Nancy Madar Mr. Jeffrey Moore Ms. Donna Matulis Theresa Muxie Katherine & Alan Miller Charles & Carole Norrish Sari & James Rosokoff Todd Patrick Piro Patricia Tanaka Lois Procopion Lisa & Thomas Rollins Director’s Fund Jacqueline Seide Anonymous Dr. Sheryl Speilman Mona & Greg Anderson In honor of Piano Maintenance Giovanni Favretti & in Fund jjsupport for the Arts John Mayer & Diane & Joseph Briody Irwin Krieger Maidie Cohen Carol Colombo Mr. Thomas French Jennifer & Eric Person
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
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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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