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Friday, September 30, 2022, 8:00 pm University of Connecticut School of Fine Arts Alain Frogley, Interim Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

The Lenard Chamber Music Series

Emerson String Quartet Eugene Drucker, violin Lawrence Dutton, viola

Philip Setzer, violin Paul Watkins, cello

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PROGRAM String Quartet in E-flat Major, Op. 12 Felix Mendelssohn (1809-1847) I. Adagio non troppo – Allegro non tardante II. Canzonetta. Allegretto III. Andante espressivo IV. Molto allegro e vivace String Quartet in B-flat Major, Op. 67 Johannes Brahms (1833–1897) I. Vivace II. Andante III. Agitato (Allegretto non troppo) IV. Poco Allegretto con Variazioni String Quartet in A-flat Major, Op. 105 Antonín Leopold Dvořák (1840-1893) I. Adagio ma non troppo — Allegro appassionato II. Molto vivace — Trio III. Lento e molto cantabile IV. Finale. Allegro non tanto

BIOGRAPHY The Emerson String Quartet has maintained its status as one of the world’s premier chamber music ensembles for more than four decades. “With musicians like this,” wrote a reviewer for The Times (London), “there must be some hope for humanity.” The Quartet has made more than 30 acclaimed recordings, and has been honored with nine Grammys (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, and Musical America’s “Ensemble of the Year” award. The Quartet collaborates with some of today’s most esteemed composers to premiere new works, keeping the string quartet form alive and relevant. The group has partnered in performance with such stellar soloists as Renée Fleming, Barbara Hannigan, Evgeny Kissin, Emanuel Ax, and Yefim Bronfman, to name a few.

In the 2021-2022 season, the Quartet presented the New York premiere of André Previn’s Penelope at Carnegie Hall, alongside soprano Renée Fleming, actress Uma Thurman, and pianist Simone Dinnerstein, before reprising

the program in a concert at the Kennedy Center in Washington, D.C. In addition to touring major American venues extensively, the Quartet returns to Chamber Music Society of Louisville, where they completed the second half of a Beethoven cycle in spring 2020. Finally, the Quartet embarked on a six-city tour of Europe, with stops in Athens, Madrid, Pisa, Florence, Milan, and London’s Southbank Centre where they presented the Emerson in a complete Shostakovich cycle, one of the staples in their repertoire.

The Quartet’s extensive discography includes the complete string quartets of Beethoven, Mendelssohn, Brahms, Bartok, Webern, and Shostakovich, as well as multi-CD sets of the major works of Haydn, Mozart, Schubert, and Dvorak. In 2018, Deutsche Grammophon issued a box of the Emerson Complete Recordings on the label. In October 2020, the group released a recording of Schumann’s three string quartets for the Pentatone label. In the preceding year, the Quartet joined forces with Grammy-winning pianist Evgeny Kissin to release their debut collaborative album for Deutsche Grammophon, recorded live at a sold-out Carnegie Hall concert in 2018.

Formed in 1976 and based in New York City, the Emerson String Quartet was one of the first quartets to have its violinists alternate in the first chair position. The Quartet, which takes its name from the American poet and philosopher Ralph Waldo Emerson, balances busy performing careers with a commitment to teaching, and serves as Quartet-in-Residence at Stony Brook University. In 2013, cellist Paul Watkins — a distinguished soloist, award-wining conductor, and devoted chamber musician — joined the original members of the Quartet to form today’s group.

In the spring of 2016, the State University of New York awarded full-time Stony Brook faculty members Philip Setzer and Lawrence Dutton the status of Distinguished Professor, and conferred the title of Honorary Distinguished Professor on part-time faculty members Eugene Drucker and Paul Watkins.

The Quartet’s members also hold honorary doctorates from Middlebury College, the College of Wooster, Bard College, and the University of Hartford.

In January of 2015, the Quartet received the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field.

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Saturday, October 8, 2022, 8:00 pm University of Connecticut School of Fine Arts Alain Frogley, Interim Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

Rhiannon Giddens & Francesco Turrisi

Part of the ongoing Arts & Activism Speaker Series

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RHIANNON GIDDENS The acclaimed musician Rhiannon Giddens uses her art to excavate the past and reveal bold truths about our present. A MacArthur “Genius Grant” recipient, Giddens co-founded the Grammy Award-winning Carolina Chocolate Drops, and she has been nominated for six additional Grammys for her work as a soloist and collaborator. She was nominated for her collaboration with multi-instrumentalist Francesco Turrisi, there is no Other (2019). Giddens’s latest album, They’re Calling Me Home, is a twelve-track album, recorded with Turrisi in Ireland during the recent lockdown; it speaks of the longing for the comfort of home as well as the metaphorical “call home” of death, which has been a tragic reality for so many during the COVID-19 crisis. They’re calling me home was nominated for two Grammy Awards and won as best folk album at the 2022 Grammy Awards.

Giddens’s lifelong mission is to lift up people whose contributions to American musical history have previously been erased, and to work toward a more accurate understanding of the country’s musical origins. Pitchfork has said of her work, “few artists are so fearless and so ravenous in their exploration,” and Smithsonian Magazine calls her “an electrifying artist who brings alive the memories of forgotten predecessors, white and black.”

Among her many diverse career highlights, Giddens has performed for the Obamas at the White House, served as a Carnegie Hall Perspectives curator, and received an inaugural Legacy of Americana Award from Nashville’s National Museum of African American History in partnership with the Americana Music Association. Her critical acclaim includes in-depth profiles by CBS Sunday Morning, The New York Times, The New Yorker, and NPR’s Fresh Air, among many others.

Giddens is featured in Ken Burns’s Country Music series, which aired on PBS in 2019, where she speaks about the African American origins of country music.

She is also a member of the band Our Native Daughters with three other black female banjo players, Leyla McCalla, Allison Russell, and Amythyst Kiah, and co-produced their debut album Songs of Our Native Daughters (2019), which tells stories of historic black womanhood and survival.

Named Artistic Director of Silkroad in 2020, Giddens is developing a number of new programs for the organization, including one inspired by the history of the American transcontinental railroad and the cultures and music of its builders. She recently wrote the music for an original ballet, Lucy Negro Redux, for Nashville Ballet (premiered in 2019), and the libretto and music for an original opera, Omar, based on the autobiography of the enslaved man Omar Ibn Said for the Spoleto USA Festival (premieres in 2022). As an actor, Giddens had a featured role on the television series Nashville.

FRANCESCO TURRISI Grammy Award-winning multi-instrumentalist Francesco Turrisi has been defined a “musical alchemist” and a “musical polyglot” by the press.

He left his native Italy in 1997 to study jazz piano and early music at the Royal Conservatory of The Hague, where he obtained a Bachelor and a master’s degree.

Since 2004, he has been working successfully as a freelance musician.

He has released five critically acclaimed albums as a leader and two as coleader (“Tarab” a cross boundary innovative ensemble that blends Irish and Mediterranean traditional music, and “Zahr” a project that looks at connections between southern Italian traditional music and Arabic music).

His latest piano solo album Northern Migrations was described as “delicate, wistful and wholly engrossing” by The Irish Times.

Turrisi is also a member of the celebrated early music ensemble L'Arpeggiata. With L'Arpeggiata, he has performed at the most important classical music festivals in Europe and around the world (Turkey, Russia, China, Australia, New Zealand, Brazil and Colombia) and has recorded for Warner, Virgin, Naive and Alpha.

Since 2018, he has been collaborating with American Grammy Award-winning singer and multi-instrumentalist Rhiannon Giddens, on a duo project that seamlessly combines music from the Mediterranean with music from the African diaspora in the Americas. In 2019 Giddens and Turrisi released their critically acclaimed duo album there is no Other. The album single “I’m on my way” was nominated for a 2020 Grammy Award. Their 2021 second duo album They’re calling me home was nominated for two Grammy Awards and won as best folk album at the 2022 Grammy Awards.

Turrisi currently performs on piano, accordion, harpsichord, organ, various lutes, cello banjo, frame and goblet drums.

He is equally at home playing with jazz veterans Dave Liebman and Gianluigi Trovesi as he is with Irish traditional sean-nós singer Roisin El Safty and with tarantella specialist Lucilla Galeazzi. Turrisi has toured with Bobby McFerrin, interpreted the music of Steve Reich with Bang on a Can All Stars, accompanied flamenco star Pepe El Habichuela and Greek singer Savina Yannatou.

Friday, September 30, 2022, 8:00 pm

Jorgensen Center for the Performing Arts

The Lenard Chamber Music Series

Emerson String Quartet PROGRAM NOTES String Quartet No. 1 in E-flat Major, Op. 12 Felix Mendelssohn (Born February 3, 1809, in Hamburg; died November 4, 1847, in Leipzig) Felix Mendelssohn was a musical prodigy, a boy who composed very mature compositions. As a youth, he exhibited prodigious musical imagination and craftmanship; he also had great musical understanding and judgment. Before his sixteenth birthday, he had composed sonatas, songs, cantatas, organ works, and even a symphony. A year later, when he was seventeen, he wrote his famous A Midsummer Night’s Dream overture.

The young composer’s grandfather was Moses Mendelssohn, the Jewish philosopher of the Enlightenment who was immortalized as Lessing’s Nathan the Wise and his own father was a wealthy banker. His family spared nothing to nurture his artistic maturity. Musicales were held on alternate Sunday mornings in the Mendelssohn house in Berlin; important touring performers who were passing through the Prussian capital often attended them. At these musicales, chamber music was always performed; there was sometimes orchestral music too, occasionally even an opera. The guests frequently performed and, for almost each occasion, the young Mendelssohn had composed a work to be included.

Mendelssohn wrote his earliest chamber music when he was still a teenager. Before he turned twenty, in addition to his first two string quartets, he had completed three piano quartets, a string octet, and his first viola quintet. In 1830, when he began to have his music published, there was some confusion when he issued two string quartets as his Op. 12 and Op. 13. The second had actually been composed earlier than the first.

Mendelssohn began Op. 13 in the summer of 1827 when he was eighteen years old and finished it on October 27, in Berlin. Beethoven had just died,

and his music had already fallen into relative disfavor. Beethoven’s music was then generally thought to be a poor second to the work of Rossini, but nevertheless Mendelssohn admired Beethoven’s quartets and found them spiritual, intellectual, and technical treasures. Writing the Quartet in E-flat Major in 1929, he was definitely aware of Beethoven’s late quartets, which had recently come into print. In 1829, Mendelssohn composed this work two years after his first foray into the quartet genre, during his first tour of England.

His Quartet in E-flat has a broad dramatic compass. Some have ventured that it is the work of a composer with either stage or operatic productions in mind, rather than concert music. People generally speak of Mendelssohn as a “classicist,” and remark that he followed established forms and structures, composing very special works within those boundaries, but in his first two string quartets, he was a bit untraditional in his form and expression. He gave the first violin several recitative-like passages in the first, third and fourth movements, which had the effect of him actually having created a personal expression outside the traditional form.

A dramatic sighing gesture opens the first movement. The slow introduction, Adagio non troppo, has been described as a clear paraphrase of the opening of Beethoven’s “Harp” Quartet, composed in a kind of homage and farewell to the master composer. Other echoes of Beethoven’s quartet are evident in the main body of the movement, Allegro non tardante, as well. The main body also features the cyclic recurrence of themes. Mendelssohn’s music differs from that of Beethoven’s in this work because it is gentler and although sometimes fiery, it never has the muscularity of Beethoven. Later, in the development, when traditionally the themes of the movement would have all been introduced, the second violin articulates a dark theme that appears again near the movement’s end and then again in the finale of the work.

The second movement, Canzonetta. Allegretto, replaces the expected scherzo. This amiable movement, sometimes extracted for performance alone, has had some independent popularity and is often played as an encore. It is based on a sixteenth century dance-like song in ABA form. It has daintiness, charm, and transparency, and has been judged to be one of Mendelssohn’s finest works. With a similar quality to the A Midsummer Night’s Dream music, its elfin feeling is enhanced by short, quick bow

strokes and pizzicato. The main (A) section contrasts with the Trio.

In the brief third movement, Andante espressivo, which begins with a subject from the first movement, the first violin sings a passionate and intimate aria, con fuoco (with fire). This short movement has another vocal sounding passage, also marked con fuoco, that covers a large emotional range. At the end, a tender, brief coda brings calm, but it is broken by the two opening chords of the spirited finale, Molto allegro vivace, which follows the third movement without a break. The finale untraditionally opens in a minor tonality, giving the music an immediate sense of drama. In the middle of the movement, the theme from the 1st movement returns in the first violin’s part. It is not until the coda that Mendelssohn returns at last to E-flat. Before that, the music is stormy and unsettled. Another theme from the first movement, the one introduced in the development section, appears both in the center of the finale and in the coda, which contains a near complete recapitulation of the coda of the first movement. With this gesture, Mendelssohn is creating the feel of a cyclical form that anticipates Wagner but here evokes the feeling of returning to a gentle, peaceful time. The musicologist John Horton put it well: “The coda of this finale is one of Mendelssohn’s purest and most radiant passages of quartet writing, leaving the listener with a wonderful sense of contentment.”

According to Mendelssohn biographer Larry Todd, "Mendelssohn secretly dedicated op. 12 to the daughter of a Berlin astronomer, Betty Pistor, a singer."

String Quartet No. 3 in B-Flat, Op. 67 Johannes Brahms (Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna) Brahms's feelings about the importance of the string quartet as the ultimate expression of the composer's craft may help to account for why he wrote twenty or more quartets over two decades before he allowed his first two to be published. The long delay had two causes: One was the burden of being in a position of following Beethoven, the other was needing a way to deal with the complex polyphony that was an inherent part of his musical thought, in order that his work could make the impression he wanted with only four instruments. The sextets of the

1860’s, perhaps because the group was fifty percent larger, had given him a satisfactory medium, but a quintet had failed. In the 1870’s, he felt confident, at last, that he knew what to do with four players; his Op. 51 Quartets, composed in 1873, succeed as works in which fullness of expression is unhindered by economy of means.

In 1875, Brahms resigned from his position as conductor of Vienna’s Gesellschaft der Musikfreunde (“Society of Friends of Music”), feeling that three years there were sufficient, recognizing that the position would not further his quest to be granted the conducting contract he desperately desired in his hometown, Hamburg. After the completion of the season, he left Austria, journeying to a country hamlet, Ziegelhausen, near Heidelberg, where he could concentrate on composing and still enjoy the company of musicians from nearby cities when he desired.

Brahms was relieved to have time he could devote solely to composition.

He did not miss not having a regular post and resolved never again to take one. Since he had no family to support, the income from his composition satisfied his modest needs as well as allowed him to be generous with friends. He felt that his only obligation and responsibility was to his music.

His youth had passed, and the calm wisdom of middle age had arrived.

His mood and his compositions seemed to match. He wrote to one friend that summer, “Life here is very jolly.” To another, he communicated that he was working on some “useless trifles.” One “trifle” was this cheerful quartet, another was his blithe Symphony No. 2, and between times, when he tired of these two optimistic works, he turned to polishing the score of his huge, dramatic Symphony No. 1, whose existence had not yet been revealed to the musical world.

This quartet, Op. 67, was to be Brahms’s third and last. At the time of its composition, he seemed to have been content with the work. Like its predecessors, this quartet, which he confided was his favorite of the three he had composed, is dedicated to a physician, and its composition was easier for Brahms than those that came before. In August 1876, he wrote to Dr. Engelmann, “I am about to give birth to a string quartet and I shall not need the help of a medical man. I do not think forceps will be necessary.” The quartet was written quickly, and the Joachim Quartet gave it its first performance on October 30, 1876, in Berlin.

Haydn’s spirit is ubiquitous in this work, and rhythm, as Haydn used it, is

the most distinguishable element in the first movement. From the jolting beginning of the playful Vivace with its cor de chasse (“hunting call”) of cross accented duple rhythm, Brahms’ displaced accents and shifting rhythms recall Haydn at his wittiest. There is much syncopation, and Brahms uses simultaneous 6/8 and 2/4 meters, making a combination of three against two.

The serene second movement, Andante, is a romantic three-part song with some agitated dramatic moments in the minor-key middle section. The third is an extraordinary scherzo-form movement, Agitato (Allegretto non troppo): music of lyric passion played principally by the viola, Brahms’ favorite instrument, with the accompaniment of the other three instruments playing with mutes. Brahms presumably called this “the most amorous, affectionate [movement] I have written.”

The last movement, Poco Allegretto con variazioni, recalls the variationfinales of Haydn’s generation but with a new twist. The movement consists of eight variations on a theme followed by a coda. Each of the instruments is highlighted, giving the theme varied shapes and colorations in these variations, but in the first two variations and in selected other sections, Brahms’s favored viola again has the leading voice. In the last two variations, the seventh and eighth, and in the closing coda, Brahms superimposes themes from the first movement of the quartet onto the variation theme, boldly using a cyclic device to unify his work.

String Quartet in A-Flat Major, Op. 105 Antonin Dvořák (Born September 8, 1841, in Nelahozeves; died May l, 1904, in Prague) The father of Antonin Dvořák was a village innkeeper and butcher who hoped to pass his trade on to his son, but the young man turned instead toward music. He took up the violin and organ, and at sixteen, left home to study in Prague. Five years later, he joined the orchestra of the National Theater, playing the viola (which in those days was the instrument of failed violinists), and soon began to test his creative powers with extended compositions in traditional classical forms.

Chamber music had an important place in Dvořák ’s life, and many of his earliest works were quartets and quintets, modeled after Beethoven and Schubert, that Dvořák played with his colleagues

while developing his craft.

This quartet is his last, written when he had become one of the world’s most honored composers. In 1892, Dvořák was appointed the head of a new conservatory in New York, where he wrote some of the best music of his mature years, the New World Symphony, the Cello Concerto, the American String Quartet, and a String Quartet in E -Flat. Despite his enthusiasm for the young society on our continent, he knew that his art was rooted in his homeland, and after spending a five-month leave there in 1894, he decided not to stay in America much longer. In March 1895, he began this string quartet in the United States, but he soon put it aside and, in April, returned to Prague.

His first months after his return to Prague were quiet, but when he began to teach again in the fall at the Prague Conservatory, the creative urge returned. In less than a month, he wrote the Quartet in G Major that was published as his Op. 106, and in December, he completed this one, the final and climactic work in his long career as a composer of chamber music. It was a fresh and joyous score expressing his delight in being at home.

The first movement begins with a slow introduction, Adagio ma non troppo, after which the main section, Allegro appassionato, seems to be an idyllic expression of Dvořák’s joy. The second movement, Molto vivace, is a scherzo in the manner of a furiant, a vigorously athletic, energetic Czech folk dance with a contrasting, middle section that is a calm and relaxed nature-picture. Next comes a long-lined slow movement, Lento e molto cantabile. Its first and last parts are radiantly lyrical; the middle is gently agitated. The finale, Allegro non tanto, is a long, lively, freely developed movement, rich in rhythmic songs and dance melodies that rise to a joyous climax.

Program Notes by Susan Halpern, 2022.

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+

Becky & Scott Lehmann The University of Connecticut League, Inc.

Sapphire / $100+

Anne D’Alleva Carol & David Jordan Lin & Waldo Klein James Knox Jane & Robert Moskowitz

Pearl / up to $99

Gail & Lawrence Ash-Morgan Gail & Neil Christopher Irwin Krieger & John Mayer Gracie Martin Pamela Paine Peter Polomski Dale Swett Joanne Todd

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, non-UConn 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

CoSt ★rs Jorgensen Center for the Performing Arts

2022 - 2023 Co-Chairs: Lin Klein & Jane Moskowitz $500 per person, $1,000 per couple Elena Sevilla & Paul Aho Mona & Greg Anderson Marianne Barton 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 Stan & Sandy Hale Judy & Peter Halvorson

Becky & Scott Lehmann Jean & John Lenard Patricia Hempel Gene Likens & Shareen Hertel & Leola Spilbor Donald Swinton Sue & Lester Lipsky Marsha Hilsenrad Margarethe & Jan Huber Matthew Mashikian Blair T. Johnson & Antonia Moran Blanche Serban Jane & Robert Moskowitz Lynn & Harry Johnson Constance & Rodney Rock Janet & George Jones Nancy & John Silander Catherine & Davey Kalonia Beverly Sims & Lin & Waldo Klein William Okeson James Knox Anne & Winthrop Smith Ann Kouatly Maurice Thompson Karen Zimmer

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 2022-2023 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* Marianne Barton* Deborah Walsh Bellingham* In Memory of Dr. Bruce A. jjjjjjjjjjjjjjjBellingham* Honey & Harry Birkenruth* Lynn & Marjorie Brown 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 In Memory of Elaine D. Neiswanger, jjRobert Neiswanger, & jjThomas Neiswanger Stan & Sandy Hale* 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* Ann Kouatly* Becky & Scott Lehmann* Jean & John Lenard* Gene Likens & Leola Spilbor* Sue & Lester Lipsky* Margarethe & Matthew Mashikian* Antonia Moran* Jane & Robert Moskowitz* Craig & Karen Nass Barbara Rhein & Stan Shaw Constance & Rodney Rock* Nancy & John Silander* Beverly Sims & William Okeson* Anne & Winthrop Smith* Maurice Thompson* Maureen & John Zavodjancik Karen Zimmer* Two Friends

* Members of the Jorgensen CoStars

Directors Circle $250/person, $500/couple Anonymous Phil Brencher Irene & Richard Brown Barbara Depray & Steven Rogers Paula & Keith Enderle Mona & Todd Friedland In honor of Jane Moskowitz Rob & Mary Hoskin Mr. David Johnson David & Carol Jordan Ann & Youssef 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

Linda & Bennett Brockman 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. & Carl W. Lindquist, MD Margaret Malmborg Len Oberg Daryl & Paul Ramsey Mrs. Kristin D. Santini Eric Schultz & Stella Ross Susan & Julian Stoppelman Harriet Walker

Patrons Circle $50/person, $100/couple Anonymous Roger & Tina Abell Sheila Amdur & Marcia Neff Rosemary Andle

Robert Bittner Dorothy Blocker Susan & John Boland Paul M. D’Italia Mr. & Mrs. Michael Donnelly Ms. Joyce Donohoo Mr. & Mrs. Rudy J. Favretti 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 Pamela Paine Susan Phillips Ms. Janet Scussel Jacqueline Seide Paul & Annette Shapiro John & Marilyn Shirley Dr. Jay Shivers In Memory of Rhoda Shivers Joanne Sousa Adeline Theis Ms. Susanna Thomas George Thompson Dr. & Mrs. Joel Zuckerbraun

Critics Circle $25/person, $50/couple Anonymous Mr. & Mrs. Philip & Dorothy Bognar Mr. & Mrs. Robert & Jane Bolsse Joan Buck Mrs. Kathleen Donahue Howard & Carol Drescher 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 Linda Pelletier Sari & James Rosokoff Patricia Tanaka Director’s Fund Diane & Joseph Briody Carol Colombo David & Marilyn Foster Jennifer Person Mr. Allen Schmied & Ms. Tina Polttila-Schmied Nancy & John Silander Ms. Joanne Sousa In Memory of John P. Sousa

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.

Apollon Musagète Quartet with Garrick Ohlsson, piano

UConn SFA Faculty Showcase Sophie Shao, cello with John Blacklow, piano Tue, Nov 15

LENARD CHAMBER MUSIC SERIES Sun, Oct 16 I 3 PM Boston Camerata jorgensen.uconn.edu A Medival Christmas Dec 6

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.

CELEBRATION!

A New Chapter for the M. Estelle Sprague Costume Collection Curated by Susan J. Jerome

Left: Woman’s dress from 1870s.

UConn 1878,20a, b.

Right: Wool jumper and matching coat, designed by Bonnie Cashin, ca. 1965.

Donor: Beatrice F. Auerbach. UConn 1965.7a, b.

Jorgensen Gallery Oct 8 - Dec 9 Opening Reception Sat, Oct 8, 6 pm Prior to Rhiannon Giddens & Francesco Turrisi

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860.486.4226 860.486.4228 860.486.5795

BOX OFFICE & ADMINISTRATION

BOX OFFICE

Jennifer Darius Amanda Salas

Box Office Manager Asst. Box Office Manager

2132 Hillside Road Unit 3104 Storrs, CT 06269-3104 jorgensen.uconn.edu

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SCHOOL OF FINE ARTS

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JORGENSEN ADMINISTRATION

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Rodney Rock Gary Yakstis

Leann Sanders Diane Briody

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Marketing Manager Int. Marketing Coordinator

Technical Manager Technical Assistant Technical Assistant

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Fresh Fork

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Rte 195, Storrs Center • 860.477.0200 “The Fresh Fork Café is a fast casual restaurant owned by a University of Connecticut Alum. Their menu includes many Vegan and Gluten Free items alongside traditional café fare. All fruit smoothies, coffee, tea, beer, wine, and craft cocktails accompany the eclectic and inclusive menu.

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39 Adamec Rd, Willington 860-477-1054 Our menu offers Traditional Italian, Prime Rib, Seafood We have indoor and outdoor seating and Wraps, Salads, Apps, Brick live music Friday and Saturday nights ovenWepizzas Sandwiches. are dogand friendly (outside) 20 craft beer taps and 30 craft beer cans

Hops 44 625 Middle Tpke., Storrs • 860.477.1174 Local Gastropub less than 1 mile from campus featuring local craft beer, cocktails and a full bar.

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10% Discount w/tickets day of the performance only.

Box Office: 860.486.2113 802 Bolton Road, Unit 1127 Storrs, CT 06269-1127 crt.uconn.edu FOLLOW CRT Facebook: @CRTuconn Instagram: @crt_uconn Twitter: @crt_uconn

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