Pavel Haas Quartet, Jorgensen Center | Sat, Mar 11, 8 pm

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SPRING 2023 EVENTS

JANUARY

22 Llama Llama Red Pajama Live!

FEBRUARY

2 BalletX

13 Lviv National Philharmonic Orchestra of Ukraine

17 Joanne Shaw Taylor

18 Jo Koy World Tour

19 Popovich Comedy Pet Theater

24 Jazz at Lincoln Center

MARCH

2 Phaeton Piano Trio*

9 KODO

11 Pavel Haas Quartet*

19 The Adventures of Harold and the Purple Crayon

23 Martha Graham Dance Company

APRIL

14 Girl Named Tom

*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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Connecticut Repertory Theatre is the producing arm of the University of Connecticut’s Department of Dramatic Arts.

2022-2023 SEASON

METAMORPHOSES

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Dec 1 – 11, 2022

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ROE

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March 2 – 11, 2023

Nafe Katter Theatre

DEATH AND THE MAIDEN

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March 23 – April 2, 2023

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April 20 – 30, 2023

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Healthy is worth a standing ovation.

We’re proud to support so many award-winning performers. And while it may not be a Tony or Grammy, we’re also proud of own our cast for earning the highest honors in Patient Safety at Manchester Memorial Hospital and 4-Star Quality Care for Medicare and Medicaid patients. From one group of dedicated performers to another, good luck and good health!

Manchester Memorial Hospital Rockville General Hospital John A. DeQuattro Cancer Center ECHN Medical Group

Saturday, March 11, 2023, 8:00 pm

University of Connecticut School of Fine Arts

Alain Frogley, Interim Dean

Jorgensen Center for the Performing Arts

Rodney Rock, Director presents

PAVEL HAAS QUARTET

Lenard Chamber Music Event

Veronika Jarůšková, violin; Marek Zwiebel, violin; Šimon Truszka, viola; Peter Jarůšek, cello

Sponsored by the Alexander-Hewitt Fund and NICABM (National Institute for the Clinical Application of Behavioral Medicine)

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PROGRAM

String Quartet in G Major, Op. 76, No. 1

Joseph Haydn (1732-1809)

I. Allegro con spirito

II. Adagio sostenuto

III. Menuet. Presto & Trio

IV. Finale. Allegro ma non troppo

String Quartet No. 2, H. 150

Bohuslav Martinu (1890-1959)

I. Moderato-Andante-Allegro vivace

II. Andante

III. Allegro - INTERMISSION -

String Quartet No. 3 in D Major, Op. 34

Erich Wolfgang Korngold (1897-1957)

I. Allegro moderato

II. Scherzo. Allegro molto

III. Sostenuto. Like a Folk Tune

IV. Finale. Allegro con fuoco

PAVEL HAAS QUARTET

Named by BBC Magazine as one of the top ten string quartets of all time, the Pavel Haas Quartet is revered across the globe for its rich timbre, infectious passion and intuitive rapport. Performing at the world’s most prestigious concert halls and having won five Gramophone and numerous other awards for their recordings, the Quartet is firmly established as one of the world’s foremost chamber ensembles.

Beginning in September 2022, the Pavel Haas Quartet will be Artists in Residence at the Dvořák Prague Festival for three years. They will curate the chamber music concerts including programming all the Dvořák String Quartets and chamber music works. In North America, the Quartet tours to Melbourne, FL; Storrs, CT; Athens, GA; Cincinnati, OH; Montgomery, AL; and Houston, TX.

The Pavel Haas Quartet records exclusively for Supraphon. Their most recent recording of Brahms Quintets Op. 34 & 111, featuring violist Pavel Nikl–a founding member of the ensemble–and the pianist Boris Giltburg, was released in 2022 and garnered instant critical acclaim, including from BBC Music Magazine who stated, “the String Quintet is sharing the undoubtedly thrilling qualities of innate ensemble playing, strong instinct for tempo and the sense of sheer love for the music.” The Quartet’s recording of Shostakovich String Quartets was released in 2019 and received outstanding acclaim including being named as one of The 100 Best Records of the Year by The Times and Recording of the Year by Classic Prague Award. Their disc of Dvořák’s Piano Quintet No. 2 and String Quintet No. 3–also featuring Giltburg and Nikl–was released in 2017 and earned the group their fifth Gramophone Chamber Music Award. Diapason d’Or chose the disc as Album of the Month and commented: “It is difficult to overestimate their expressive intensity and opulent sound production.”

The Quartet received further Gramophone Awards for their recordings of Smetana, Schubert, Janáček and Haas, as well as Dvořák’s String Quartets No. 12 ‘American’ and No. 13, for which they were awarded the most coveted prize, Gramophone Recording of the Year in 2011. The Sunday Times commented: “their account of the ‘American’ Quartet belongs alongside the greatest performances on disc.” Further accolades include BBC Music Magazine Awards and the Diapason d’Or de l’Année in 2010 for their recording of Prokofiev String Quartets Nos. 1 & 2.

In spring 2005, the Quartet won the Paolo Borciani competition in Italy. Further highlights early on in their career were the nomination as ECHO Rising Stars in 2007, the participation in the BBC New Generation Artists scheme between 2007-2009 and the Special Ensemble Scholarship the Borletti-Buitoni Trust awarded them in 2010. The Quartet is based in Prague and studied with the late Milan Skampa, the legendary violist of the Smetana Quartet. They take their name from the Czech composer Pavel Haas (1899-1944) who was imprisoned at Theresienstadt in 1941 and tragically died at Auschwitz three years later. His legacy includes three wonderful string quartets. Pavel Haas Quartet’s recordings are available on Supraphon.

Saturday, March 11, 2023, 8:00 pm

Jorgensen Center for the Performing Arts

PAVEL HAAS QUARTET

Lenard Chamber Music Event

Veronika Jarůšková, violin; Marek Zwiebel, violin; Šimon Truszka, viola; Peter Jarůšek, cello

PROGRAM NOTES

String Quartet in G major, Op. 76, No. 1, Hob. III:75

Joseph Haydn

(Born March 31, 1732, in Rohrau; died May 31, 1809, in Vienna)

In 1795, Joseph Haydn returned from his second visit to London and settled in Vienna to live out his remaining years. By the standards of the time, Haydn was experiencing unusual longevity. Mozart, whom Haydn had greatly admired, had died four years before, and Beethoven, at this time, was still quite young. England had showered wealth and honors on Haydn, and he had lingered there for two months after his last concert before going home to the Continent.

With the death of Prince Nikolaus in 1790, Haydn was able to experience greater freedom, all the while continuing to enjoy the title and emoluments of his position as Kapellmeister to the Prince's successors. No one had any idea how different the work of Haydn’s last years would be from what had preceded it. He had written more than a hundred symphonies, but after the dozen masterpieces that he had composed expressly for London audiences, he never wrote another. Yet with the knowledge of Handel’s oratorios that he had acquired in London, Haydn took on the project of modernizing and revitalizing that form in his own The Creation and The Seasons. He also composed six masses and some other sacred music for the princely Esterházy family for whom he had served as staff conductor and composer for thirty years.

Haydn’s greatest music until this time had always been found in his

instrumental works. Over a period of forty years, Haydn composed over sixty-eight string quartets, and, in the last years, he wrote almost no instrumental music except a few string quartets that sum up a lifetime of supreme invention. His achievement in the string quartet form is as remarkable in quality as in quantity. His development of it in the 1780s even encompassed and reflected the influence of his younger contemporary, Mozart, who had been influenced in turn by Haydn, and who dedicated a set of quartets to the elder master.

Count Joseph Erdödy, Chamberlain and the Privy State Counselor to the Emperor, commissioned the six Op. 76 Quartets in the late 1790’s, and of course, Haydn dedicated them to him. The Erdödys were an important family, noble and musical, related by marriage to Haydn’s former employers, the Esterházys. Count Ladislaus Erdödy is listed among the subscribers to Mozart’s Vienna concerts in 1783, and Beethoven dedicated his two Trios, Op. 70 (1808), and two Cello Sonatas, Op. 102 (1815), to his pupil, Countess Maria, wife of Count Peter Erdödy. The Count belonged to a group of noblemen that included Count Appónyi, to whom, in 1799, Haydn dedicated the Opus 74 Quartets, and Prince Lobkowitz, to whom he dedicated the last two completed Quartets, Opus 77.

Haydn completed the set of six quartets, Op. 76, of which this work is the first, in 1797; he published the set two years later. After the Op. 77, which followed, he began another quartet in 1803, but gave up after two movements that he allowed to be published in 1806 with the apologetic message, “All my strength is gone; I am old and weak.” The last eight completed quartets have the kind of controlled freedom that comes only with great maturity, and their rich instrumental texture is very modern for its time; some historians have even said it anticipates Brahms. Almost every movement of these six quartets makes some sort of journey away from the acknowledged norms of the period in a way that draws the listener’s attention as well as extends the quartet form.

In Quartet No. 1 of Op. 76, numbered variously as No. 60, No. 40, and No. 75, the latter in the Hoboken catalog, where it is designated Hob.III:75, the cello declares the first theme of the first movement, Allegro con spirito, after three opening chords have commanded the listeners’ attention of the listener. This movement is in sonata form, and each instrument, in turn, has a version of the main subject, taking

up the theme. Unexpected harmonies lead to the innocent-sounding second theme, stated briefly. In the development section, Haydn concentrates on the first theme mostly and then restates it in the recapitulation with a contrapuntal accompaniment.

The slow movement, Adagio sostenuto, again in sonata form, contrasts with a very serious sounding theme. The cello is accompanied by the second violin and viola, and then that material is complemented by a faster figure in the first violin.

The spirited, quick and short Menuetto: Presto, sports a Trio in which the first violin has ambitious lines. The Finale: Allegro ma non troppo, in G minor has a significant opening figure that is heard throughout the movement. Counterpoint enriches this movement of considerable harmonic interest.

Quartet No. 2, H. 150

Bohuslav Martinů

(Born December 8, 1890 in Policka, Bohemia, now the Czech Republic; died August 28, 1959, in Liestal, Switzerland)

Bohuslav Martinů was born and lived his early years in the church bell-tower of a tiny Bohemian town where his father was a watchman and cobbler. At the age of eight, Martinů made his debut performing; at ten, he began to compose. When he was sixteen, he entered the Prague Conservatory but was not successful as a student because the academic discipline conflicted with his personal artistic interests and his private creative needs. For a decade as an adult, Martinů performed as a violinist, a member of the Czech Philharmonic Orchestra, whose conductor Václav Talich encouraged him as a composer.

Although Martinů took a part of Josef Suk’s composition course at the Prague Conservatory and studied with composer Albert Roussel in Paris, he was essentially self-taught as a composer. His hundreds of compositions cover an enormous range of media and of expressive character; his best works have a rhythmic and melodic vigor that make them directly appealing.

Martinů spent time in Paris in the 1920s; he left Prague in 1940; in 1941, he came to the United States. In 1946, while he was working on his Quartet No. 6, the Prague Conservatory offered him a teaching position.

Eager to return to home, he sent his wife to Czechoslovakia to prepare their move. Martinů stayed in New York to finish his composition, but most unfortunately, he had a freak accident and fell off the balcony of his apartment and was very seriously injured. He recovered but suffered from a nervous shock, partial hearing, and memory loss. He was then only fifty-six years old, and luckily, was gradually able to resume work, although the accident took a permanent toll on his physical and creative energy. In 1953, he returned to Europe to spend his last years in France and Switzerland.

Martinů was a kind, quiet, and gentle man who lived a simple life, unburdened by possessions, and, at times, he barely kept himself above the level of simple poverty. His fluent, colorful orchestral style made his music very popular with such important conductors of a generation or two ago as Serge Koussevitsky, George Szell, and Charles Munch, as well as with their audiences.

Two years before composing this quartet, Martinů moved to Paris, in order to immerse himself in the vibrant music environment there. Prior to that, he was isolated in musically conservative Prague for the years of World War I. He composed Quartet No. 1 in Czechoslovakia in 1918; it is twice as long as this quartet, but it pleasant to listen to, if quite derivative. In Paris, Martinů gained his stride as a composer and wrote the moving and very charming but relatively brief second quartet in 1925; it was published in 1927. It is not altogether clear where he composed the quartet: some contend he wrote it in Paris, while others say that he wrote it in his hometown of Policka, Czechoslovakia, while he was there on vacation that year.

By the time of this work, which is strikingly full of rhythmic variety and melodic invention, Martinů had achieved control over his musical materials and form. He wrote this quartet to be played at the inaugural concert of the Novák-Frank Quartet string quartet, a group consisting of violinist Vitezslav Novak (Martinů’s friend), Maurits Frank, (a member of the Amar Quartet), Josef Stika, and Bohumil Klabik. Some sources say that Martinů composed the quartet in only eighteen days, while others comment on his unusually protracted compositional process for this work, which may have lasted eight months and was particularly notable as he was known for his rapid work. He revised this quartet extensively; after the work was performed publicly for the first time, he reworked it, based on feedback he received. The work was

published by Universal Editions as Quartet No. 2 even though Martinů had actually composed two quartets before it, not counting student works. The first of the two previous works remains unnumbered.

Quartet No. 2 was immediately very successful at its Paris premiere and when performed in Prague, a reviewer praised Martinů as “the heir of Dvorak’s vigor.” Martinů discussed the composition, which has a distinct Czech flavor, with his composition teacher, Albert Roussel: “Roussel has probably given up on me, but he likes the pieces nonetheless, and we go through them in detail. I have to take his lessons because it is in the contract with the ministry. But he is an immensely kind person and he hardly corrects anything from me anymore,” but musicologists feel the quartet does reflect the effect Roussel had had on Martinů’s work during the two years before its composition.

Each of the instruments in the quartet displays a unique identity; the independence Martinu gives them is often emphasized by their dissonant clashes with each other. Quite a bit more mature than his first quartet, this quartet displays Martinů’s rhythmic energy, a varied musical color palette, and a significant gift for melody. The vigorous rhythms and his lively spirit infuse the outer movements.

The first movement begins with an introductory Moderato that announces the main idea. The body of the movement, a highly rhythmic Allegro vivace, introduces two more themes, but all three grow from the same germ. Although the movement overall is full of energy and is chromatic and rich, the composer does provide an element of contrast with the second rustic folk-like theme.

The central movement, Andante, projects a sense of stasis and tension overall, but its intensity is relieved somewhat in the middle of the movement, which has more momentum, Moderato. Although the movement feels harmonically unchanging, it is, nevertheless, highly expressive; its unusual character results from Martinů’s imaginative writing for the low registers of the violins.

The final movement, Allegro – Allegro ma non troppo, begins in a lighter vein and projects a feeling of the folklike spirit one hears in the first movement. It has exciting rhythms and pleasing melodies; perhaps its most outstanding feature, and one very unusual for a quartet, is the full-blown virtuosic violin cadenza. This last movement

expresses the folklike spirit one hears in the first movement.

String Quartet in D Major, No. 3, Op. 34 Erich Korngold

(Born May 29, 1897, in Brno, Czechoslovakia; died November 29, 1957, in Hollywood, California)

In the years before the First World War, Erich Korngold, who became one of the most popular and successful composers of his time in Europe, was widely believed to be a musical prodigy on the order of Mozart, Mendelssohn, and Saint-Saëns. His father was an influential Austrian music critic who gave him his first lessons. Both Richard Strauss and Gustav Mahler declared the boy to be an extraordinary genius. Artur Schnabel played a piano sonata that Korngold wrote at thirteen, and when he was fifteen, he was praised by Richard Strauss who said, on hearing Korngold’s works, “One’s first reactions on learning that they were composed by an adolescent are awe and fear!” Even Puccini was greatly impressed by an opera Korngold wrote at the age of nineteen. Although his mature career turned out quite different from any of theirs, he did indeed become an important creative artist.

As the years passed, he composed for the concert and dramatic stages and was appointed to Vienna’s most distinguished professorship, but because of the increasing hardships visited upon Jews in Austria, Max Reinhardt, the great Viennese producer-director, brought Korngold to the United States, inviting him to arrange Mendelssohn’s music for a Hollywood film version of A Midsummer Night’s Dream. Korngold arrived in Hollywood in 1934 and quickly became a part of both its music and its film world. He socialized with Charlie Chaplin, the Marx brothers, and Bette Davis, and although he and another expatriate composer, Arnold Schoenberg, did not see eye to eye musically, they and their families became surprisingly close friends in California.

Korngold took to film scoring as if he were composing opera and later said so: “Just as I do for the operatic stage, I try to invent for the motion picture dramatically melodious music with symphonic development and variation of the themes.” Working for Warner Bros., he became the most important (and best paid) composer of modern symphonic film music during Hollywood’s Golden Years. For the next four years,

Korngold made annual trips to Hollywood from Austria until 1938 when Nazi Germany invaded Austria; at the time, Korngold was in California working on another movie score; he decided to stay there. During World War II, Korngold decided to give up composing any music other than the film music whose revenues he badly needed to support himself and his family, but after the war, he returned to composing for the concert hall. Over a period of twenty years, he wrote twenty-one extraordinary film scores, winning two Academy Awards for them. Movie-goers thrilled to his brash, swashbuckling themes, the sumptuously scored love music, and the grandly heroic evocations of historical pageantry in his film scores, but concert music occupied his later years, when he wrote a string quartet, a symphony, and a violin concerto.

Korngold could not bring himself to compose new concert works while the Nazis were in power and began a self-imposed silence that lasted until 1944. Completed in 1945, Quartet No. 3 was the first work of non-film music that he composed since before the war. He began the work secretly in 1944 and presented the sketches for it to his wife as a Christmas present, completely catching her off-guard: “I had suspected nothing about the quartet; he had avoided the subject, and had not struck even a single note on the piano.” Korngold completed composition of the quartet in July 1945. He presumably played it on the piano for Alma Mahler (Gustav Mahler’s wife), a childhood acquaintance who was also living in Los Angeles at the time. The Quartet was not premiered until January 1949 at the Wilshire Ebell Theater in Los Angeles by the New Art Quartet with Israel Baker and George Berres, violins; Milton Thomas, viola; and William Van den Burg, cello. In the quartet, Korngold incorporated themes from his films, assuming that his film scores would soon be forgotten. He dedicated the four-movement quartet to his friend, the great conductor Bruno Walter, who also was living in Hollywood at the time. The first movement, Allegro moderato, follows traditional sonata form, with a shifting, restless, highly chromatic opening theme followed by a more nostalgic, relaxed, and lyrically expressive second theme. The first theme descends chromatically while the second theme ascends in small steps. The second theme rises a fourth, then an octave: “Avanti!” (“Go for it!”), Korngold noted in the score; simultaneously, the first theme’s descending intervals become more distorted; it is

only at the movement’s end that resolution is reached.

The Scherzo, in ternary form (ABA) with macabre dance-like quality and restless chromaticism, has been said to portray sparkling car lights as well as Korngold’s hope for Hitler’s demise. The Trio section uses a melody from the film Between Two Worlds, Korngold’s favorite film score. Contrasting with the two outer sections, the central Trio expresses warm romanticism.

Romantic film music also pervades the slow movement marked “like a folk tune.” Its modal theme is constructed from the interval of ascending fourths. Here, the main theme comes from the love music of the 1941 film The Sea Wolf, with its rocking rhythm evoking the motion of the ocean. The theme appears again in several variations, some of them dark and macabre. Near the end, a descending three-note motif is repeated many times; it has been interpreted as the haunting call of a siren.

The Finale, Allegro con fuoco, is all energy, virtuosity, and fiery, spirited behavior. Korngold would use the second theme again in his final film score, Deception, about the Brontë sisters. At the end of the movement, he brings the first movement’s descending theme back again fleetingly, as well as the distorted ascending inversion, but the movement’s conclusion is strongly tonal.

Program Notes by Susan Halpern, 2023

A world leader in the evolving art form of modern dance for over 90 years

C oSt 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

Patricia Hempel

Shareen Hertel & Donald Swinton

Jan Huber

Tina & Bryan Huey

Blair T. Johnson & Blanche Serban

Lynn & Harry Johnson

Janet & George Jones

Lin & Waldo Klein

James Knox

Ann Kouatly

Becky & Scott Lehmann

Jean & John Lenard

Gene Likens & Leola Spilbor

Margarethe & Matthew Mashikian

Antonia Moran

Jane & Robert Moskowitz

Constance & Rodney Rock

Nancy & John Silander

Beverly Sims & William Okeson

Anne & Winthrop Smith

Maurice Thompson

Karen Zimmer

Susan Zito

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. Bellingham*

Honey & Harry Birkenruth*

Ruth Buczynski*

Carol Colombo*

In Memory of Paul Colombo*

Michael E. Cucka

Anne D’Alleva*

Madison & Bob Day*

Mr. Paul D’Italia

Susan & John DeWolf*

Ms. Joan N. Gionfriddo

In Memory of

Elaine D. Neiswanger, Robert Neiswanger, & Thomas Neiswanger

Stan & Sandy Hale*

Judy & Peter Halvorson*

Patricia Hempel*

Shareen Hertel & Donald Swinton*

Jan Huber*

Tina & Bryan Huey*

Blair T. Johnson & Blanche Serban*

Lynn & Harry Johnson*

Janet & George Jones*

Lin & Waldo Klein*

James Knox*

Ann Kouatly*

Becky & Scott Lehmann*

Jean & John Lenard*

Gene Likens & Leola Spilbor*

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*

Karen Zimmer*

Susan Zito*

*Members of the Jorgensen CoStars Directors Circle

$250/person, $500/couple

Lynn & Marjorie Brown

Kenneth A. Doeg

Mona & Todd Friedland

In honor of Jane Moskowitz

Mr. David Johnson

David & Carol Jordan

Maureen Kohler & John Zavokjancik

Tom Martin & Susan Spiggle

Carl Nawrocki

Mr. & Ms. Steven & Barbara Rogers

Cheryl A. & Mark J. Roy

Bonnie Ryan

Ms. Nancy Swiacki

Keith Wilson & Marjorie Hayes

Artists Circle

$125/person, $250/couple

Patricia Anderson

Mr. & Mrs. Bennett & Linda Brockman

Dr. & Mrs. Steven & Elaine Cohen

Maryellen Donnelly & James Krall

M. Kevin & Jeanne Fahey

Mrs. Alice Hale

Betty & Kenneth Hanson

Rob & Mary Hoskin

Ms. Cathy Jameson & Ms. Renee Fournier

Ms. Mary Lacek & Mr. Neil Aldin

Mr. & Mrs. Gerald Leibowitz

Len Oberg

Daryl & Paul Ramsey

Mrs. Kristin Santini

Susan Stoppelman

Harriet Walker

Patrons Circle

$50/person, $100/couple

Anonymous

Cynthia & Roger Adams

Robert Bittner

Dorothy Blocker

Susan & John Boland

Carol & Carl Brolin

Irene & Richard Brown

Ms. Joyce Donohoo

Lorraine Gallup

Richard & Karin James

Col. & Dr. Leonard & Judith Kaplan

Art Kirschenbaum & Cheryl Pomerantz

Dr. & Mrs. Uwe & Helen Koehn

Yves & Carol Kraus

Robin Lubatkin

Donna Matulis

Rev. Donald Miller

Pamela Paine

Judith Rhodes

Jacqueline Seide

Paul & Annette Shapiro

Adeline Theis

Susanna Thomas

George Thompson

Aaron Tumel

Dr. & Mrs. Joel Zuckerbraun

Critics Circle

$25/person, $50/couple

Anonymous

Ms. Kathleen Donahue

Mrs. Audrey Gough

Dr. & Mrs. Ed & Susan Grace

John H. Mayer & Irwin M. Krieger

Mr. & Mrs. Joseph Linonis

Wesley & Mary Lord

Joseph & Nancy Madar

Stan & Sue McMillen

Linda Pelletier

Mr. & Mrs. Ettore & Laura Raccagni

Sari & James Rosokoff

John & Marilyn Shirley

Dr. Jay S. Shivers

Mrs. Pamela Sutkaitis

Director’s Fund

Paul Aho & Elena Sevilla

Mona & Greg Anderson

Honey & Harry Birkenruth

Diane & Joseph Briody

Carol Colombo

Paula & Keith Enderle

David & Marilyn Foster

Jo & George Fox

Mr. Thomas French

Lin & Waldo Klein Fund

Jane & Robert Moskowitz

In honor of Linda K. Klein, PhD & Rodney D. Rock

NICABM

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.

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+

Honey & Harry Birkenruth

Carol Colombo

Nancy & John Silander

Mrs. Nora Stevens

Ruby / $300+

Becky & Scott Lehmann

The University of Connecticut League, Inc.

Sapphire / $100+

Dorothy Blocker

Margaret Dillon & Larry Bowman

Shingo Goto

Carol & David Jordan

Craig Knox

In Memory of Jane Knox

James Knox

Carl Nawrocki

Peter Polomski

Joanne Sousa

Pearl / up to $99

Mr. Paul D’Italia

Irwin Krieger & John Mayer

Robin Lubatkin

Pamela Paine

Bonnie Ryan

Marti & Tom Smith

Dale Swett

Joanne Todd

Ilene Whitacre

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

Kenneth & Janet Slavett

Marilyn & Arthur Wright

Box Office 860.486.4226 Administration 860.486.4228

Marketing 860.486.5795

BOX OFFICE & ADMINISTRATION

2132 Hillside Road Unit 3104 Storrs, CT 06269-3104

jorgensen.uconn.edu

SCHOOL OF FINE ARTS

Alain Frogley Interim Dean

JORGENSEN ADMINISTRATION

Rodney Rock Director

Gary Yakstis Operations Manager

Leann Sanders Administrative Assistant

Diane Briody House Manager

BOX OFFICE

Jennifer Darius Box Office Manager

Amanda Salas Asst. Box Office Manager

MARKETING/PUBLICITY

Renee Fournier Marketing Manager

Giana DiNatale Int. Marketing Coordinator

PRODUCTION TECHNICIANS

Bryan Wosczyna Technical Manager

Daniel Leavitt Technical Assistant

Scott Fisher Technical Assistant

Dine With Us

Coyote Flaco

50 Higgins Highway, Mansfield • 860.423.4414

Coyote Flaco is a family owned & operated restaurant. We invite you to try some of our favorite dishes such as our churrasco or one of our home-made tamales. Please try our many “Fresh-Lime Juice” margaritas, our full menu can be found at www.coyoteflacoct.com

Dog Lane Cafe

One Dog Lane, Storrs • 860.429.4900

Breakfast, Lunch & Dinner

Daily Specials & Wine

One Dog Lane, Storrs, CT 860.429.4900 doglanecafe.com COME.

Northeastern Connecticut’s European/American cafe, offering something for everyone from early morning to late at night. Our menu and our daily specials emphasize seasonal, local and freshly-prepared food, all made to order. Offering a wide variety of sandwiches, grilled items and freshly tossed salads or help yourself to coffee at our self-service coffee bar. Offering indoor and outdoor seating. Whether you are in a hurry or want to take some time and relax with friends, our style of service lets you set your own pace. Serving beer & wine. doglanecafe.com

Fresh Fork

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. Breakfast served all day and a late night menu available on weekends. Catering available

www.freshforkcafe.com

Hilltop

39 Adamec Rd., Willington• 860.477.1054

Come and visit Hilltop Restaurant, Bar & Banquet to experience a delicious meal, live entertainment, full bar with flat screen TVs, and more, stop in today. If you’re looking for a place to hold a party or event, call and talk to us about our banquet rooms, Make sure that you call ahead to find out what our Chef’s Specials are. They change daily. hilltopct.net

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. Smoked BBQ, Burgers, Award Winning Wings, Salad and Lighter American Fare. Open Wed-Thurs 3-9, Fri 3-10, Sat 1-10, Sun 1-7. Enter as a stranger and leave as a friend, there is something for everyone. Indoor and Outdoor seating, dogs are welcome on the patio.

WWW.Hops44.com

10 % off the day of performance with ticket

Willimantic Brewing Co.

Main Street Café

967 Main Street, Willimantic • 860.423.6777

The Willimantic Brewing Co./Main Street Café is a living landmark restaurant & pub brewery located in Willimantic, in the heart of rural northeastern Connecticut. We offer an extensive menu from fun appetizers, daily specials, gluten free, vegetarian and so much more. Fresh craft beers brewed on site, ciders, cocktails, and guest beers we have something to please everyone.

Visit us at www.willibrew.com for more information.

Willington Pizza

Rte 32, Willington Center • 860.429.7433

Italian Cuisine served in a 200-year-old home with lovely antique decor. Seating for 200. National award-winning pizza featured on CBS This Morning and ABC Good Morning America. Desserts.

Open Mon-Thurs 11am–11pm; Fri & Sat 11am–12am; Sun 11am–10pm. Casual attire. Entrées $6–$13. No reservations. (MC, V, D, AE) Best Pizza, Tolland County by Connecticut Magazine.

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

SCHOOL OF FINE ARTS

Alain Frogley Interim Dean

CRT ADMINISTRATION

Megan Monaghan Rivas

Artistic Director & Head, Department of Dramatic Arts

Michelle S. Polgar Managing Director

Vince Tycer Associate Artistic Director

Panagiota Capaldi Box Office Manager

Alana Conti Company/House Manager

CRT PRODUCTION

Robert Copley Production Manager

Tom Kosis Production Stage Manager

Michael Beschta Technical Director

John Parmelee Associate Technical Director

Daniela Weiser Scenic Charge Artist

Susan Tolis

Costume Shop Supervisor

Michael Demers Production Master Electrician

Paul Spirito Puppet Arts

Technical Supervisor

Jake Neighbors Sound Supervisor

Gino Costabile Properties Manager