With Ukraine in Our Hearts, Jorgensen Center | Tue, Oct 8, 7:30 pm

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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 Hours Mon-Fri, 10-5 pm, and 90 minutes before curtain.

CRT BOX OFFICE (860) 486-2113 crt.uconn.edu Hours Mon-Fri, 11-1 pm, and 60 minutes before curtain.

SPECIAL SERVICE Accessible rest rooms located in the lower Jorgensen & Katter lobbies.

Elevator service from the main Jorgensen lobby down to the lower lobby only.

ASSISTIVE LISTENING SYSTEM Free from the front office for Jorgensen and Katter Theatre productions.

LATE ARRIVALS Latecomers will be seated at the discretion of the artists’ management.

TOO LOUD? Free hearing protection is available upon request from the front office.

CAMERAS AND RECORDING DEVICES Strictly prohibited.

LOST AND FOUND ARTICLES Can be reported or picked up at each box office.

SMOKING Not permitted within 25 feet of the building.

CHILDREN AND INFANTS Tickets are required for everyone, no matter how young. Minimum 4 years old recommended for Jorgensen Center events and CRT productions.

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.

REFRESHMENT BARS Enjoy refreshments at your seat. Bars located in the upper Jorgensen and main lobbies of each theater.

GROUP TICKETS Call the respective box office for more information.

REST ROOMS Located in the upper and lower Jorgensen lobbies and the Katter Theatre lobby.

PARKING & TRAVEL Parking is available across from Jorgensen in the North Garage. For a detailed parking map, visit park.uconn.edu

CRT parking is available after 5pm and on weekends in surrounding University lots. Surface lots are free; garages will charge a fee.

PLEASE NOTE: The parking fee for Jorgensen events is now included as part of your ticket price. Patrons no longer have to pay upon entry or exit in the North Garage. All gates have been removed and gateless parking begins one hour prior to showtime through the conclusion of each performance. Please note: this applies to North Garage only.

IMPORTANT UPDATE: Hillside Road on the UConn Storrs campus is closed to vehicular traffic between Glenbrook Road and Jim Calhoun Way. Motorists who park in North Garage should access the garage by taking Discovery Drive or Glenbrook Road to the garage entrance on north Hillside Road.

Thursday, October 3, 2024, 6:30 pm University of Connecticut School of Fine Arts Deanna Fitzgerald, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

Music performed live by Banda de la Casita Today’s performance lasts approximately 2 hours including a 20-minute intermission.

The performance is a presentation of the complete film Disney’s Encanto with live music performed by Banda de la Casita.

Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits.

Campus Co-Sponsors

Media Sponsors

Tour Direction: Artist Management Partners Worldwide LLC Tim Fox ǀ Alison Ahart Williams ǀ Georgina Ryder www.amp-worldwide.com

Disney Encanto

Film Credits Directed by Byron Howard, Jared Bush Co-directed by Charise Castro Smith Produced by Clark Spencer, Yvett Merino Screenplay by Jared Bush, Charise Castro Smith Lee Unkrich Jason Katz Matthew Aldrich Adrian Molina Original Score by Germaine Franco Original Songs by Lin-Manuel Miranda Film Voice Cast

Mirabel Abuela" Alma Madrigal Agustín Madrigal Dolores Madrigal Isabela Madrigal Félix Madrigal Julieta Madrigal Luisa Madrigal Camilo Madrigal Pepa Madrigal Antonio Madrigal Bruno Madrigal

© Disney

Stephanie Beatriz María Cecilia Botero Wilmer Valderrama Adassa Diane Guerrero Mauro Castillo Angie Cepeda Jessica Darrow Rhenzy Feliz Carolina Gaitán Ravi Cabot-Conyers John Leguizamo

AMP and Disney Concerts presents “ENCANTO: THE SING-ALONG FILM CONCERT” National Tour!

Experience the film ENCANTO while singing along with its chart-topping hits, performed by the live band, "Banda de la Casita". ENCANTO lovers of all ages have the opportunity to sing along with their favorite GRAMMY®-Award winning songs performed by a live band while watching the full film. Produced by AMP Worldwide, “Encanto: The SingAlong Film Concert” will include all the music of the Academy Award®winning film, including iconic hits like “We Don’t Talk About Bruno” and “Surface Pressure” performed live. Fans are encouraged to dress up as Mirabel, Luisa, Isabela, or any of their favorite characters from the film and to use their voices to transform each venue into one big celebration of the Madrigal family.

About the Movie Walt Disney Animation Studios’ “Encanto” tells the tale of an extraordinary family, the Madrigals, who live hidden in the mountains of Colombia, in a magical house, in a vibrant town, in a wondrous, charmed place called an Encanto. The magic of the Encanto has blessed every child in the family with a unique gift from super strength to the power to heal—every child except one, Mirabel (voice of Stephanie Beatriz). But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might just be her exceptional family’s last hope. Releasing on Nov. 24, 2021, the film features all-new songs by Emmy®, GRAMMY® and Tony Award® winner Lin-Manuel Miranda (“Hamilton,” “Moana”) and is directed by Byron Howard (“Zootopia,” “Tangled”) and Jared Bush (co-director “Zootopia”), co-directed by Charise Castro Smith (writer “The Death of Eva Sofia Valdez”), and produced by Clark Spencer and Yvett Merino; Bush and Castro Smith are screenwriters on the film.

Banda de la Casita

“Banda de la Casita” is the on-stage band bringing the magical, musical world of Disney Encanto – The Sing Along Film Concert to life during the live-to-film concert experience! The Banda’s vibrant and dynamic performances of the treasured songs from the movie infuses each note with the spirit and energy of the film's original soundtrack.

Featuring a blend of traditional Colombian rhythms and contemporary styles, “Banda de la Casita” captures and celebrates the heart and la familia of Encanto.

Banda de la Casita Tour Roster

Host/Cuatro Accordion Guitar Guitar Bass Percussion Percussion Percussion Drum Set

Veronica Mosquera Channo Tierra Juan Arango Ramiro Marziani Jader Torres Morris Cañate Erica “Kika” Parra, Music Director Ronald Polo Roberto de Jesús CuaoRivera

Concert Production Credits Tour Staff

Company Manager Production Manager Audio EngineerMario Company Driver

Rachel Lantow Maridee Sleter Alonso Michael Scholar, Jr.

Special Thanks To

Diane Burrell, Tour Logistics Coordinator Mike Kasprzyk, Black Ink Presents L.A. Percussion & Backline Rentals Road Rebel Clair Global

About Disney Concerts Disney Concerts is the concert production and licensing division of Disney Music Group, the music arm of The Walt Disney Company.

Disney Concerts produces concerts and tours, and licenses Disney music and visual content to symphony orchestras, choruses, choirs and presenters on a worldwide basis. Disney Concerts' licensed concert packages include a variety of formats, such as "live to film" concerts and themed instrumental and vocal compilation concerts that range from instrumental-only symphonic performances to multimedia productions featuring live vocalists and choir. Featuring concerts from the largest movie franchises in the world – from Walt Disney Pictures, Walt Disney Animation Studios, Marvel Studios, Lucasfilm, Pixar and 20th Century Studios -- current titles include the Star Wars Film Concert Series, Toy Story, Aladdin, Disney Princess - The Concert, Coco, The Lion King, Up, Tim Burton’s The Nightmare Before Christmas and The Muppet Christmas Carol.

Follow @Disneyconcerts

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Tuesday, October 8, 2024, 7:30 pm University of Connecticut School of Fine Arts Deanna Fizgerald, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

WITH UKRAINE IN OUR HEARTS

Lenard Chamber Music Event Solomiya Ivakhiv, violin Darrett Adkins, cello Melvin Chen, piano

Media Sponsors

PROGRAM Solomiya Ivakhiv, violin Darrett Adkins, cello Melvin Chen, piano Bohdana Frolyak (b.1968)

Miniatures in C for Piano Trio (2008)

Fedir Yakymenko (1876-1945)

Three pieces for Violin and Piano

Yakiv Stepovy (1883-1921)

3 Morceaux, Op.14 for solo piano I.Prélude II. Chanson III.Danse

Catherine Likhuta (b.1981)

Tangle and Tear for Piano trio (2018/2022) - INTERMISSION -

Mykola Lysenko (1842-1912)

Élégie. La Tristesse Op. 39 for cello and piano

Vasyl Barvinsky (1896-1938)

Piano Trio in A Minor I. Andante sentimentale-Allegro energico II. Andante III. Allegro giocoso (alla Kolomyika)

Solomiya Ivakhiv Ukrainian born violinist Solomiya Ivakhiv is a highly celebrated soloist, chamber musician and educator. Named one of the “major artists of our time” (Fanfare Magazine), she has made solo appearances with major orchestras in the United States, China, Turkey and Ukraine, and has performed at world-renowned venues including Carnegie Hall, Merkin Concert Hall, CBC Glenn Gould Studio, Philharmonic Hall in Kyiv, and the Concertgebouw. She has been featured at chamber music festivals worldwide, from Tanglewood and Ottawa Chamberfest to Newport and Nevada Chamber Music Festivals and many in between.

Dr. Ivakhiv’s discography includes Ukrainian Masters and Ukraine: Journey to Freedom (both onNAXOS), Mendelssohn Concertos (Brilliant Classics), and Haydn and Hummel Concertos and Poems and Rhapsodies (both on Centaur). Her recordings have been featured on streaming playlists, radio stations and broadcast networks around the globe. A champion of new music, she has premiered works by David Ludwig, Kenneth Fuchs, David Dzubay, and Bohdan Kryvopust, among others.

Since 2010, Dr. Ivakhiv has served as Artistic Director of Music at the Institute (MATI) Concert Series in New York City, where she presents chamber programs featuring Ukrainian women composers, young Ukrainians, and newly commissioned works. She is Artistic Director of the Caspian Monday Music Festival in Greensboro, VT. A dedicated educator, Dr. Ivakhiv has led master classes and coached chamber music at Yale,Columbia, Boston Conservatory, Curtis SummerFest, Oberlin and others, as well as at conservatories in China and Ukraine. She was named Honored (Merited) Artist of Ukraine in 2021, her native country’s highest cultural honor. She holds degrees from Curtis Institute of Music and Stony Brook University and is Professor of Violin and Viola and Head of Strings at University of Connecticut.

Melvin Chen A native of Tennessee, Dr. Melvin Chen has received acclaim for solo and chamber performances throughout the United States, Canada, and Asia. Chen’s performances have been featured on radio and television stations around the world, including KBS television and radio in Korea, NHK television in Japan, and NPR in the United States.

As a Professor in the Practice of Piano, Chen teaches a studio of graduate and undergraduate piano students. Melvin also serves as Director of the Norfolk Chamber Music Festival –Yale Summer School of Music, where he also performs. Previously, Chen was Associate Director and on the piano faculty at the Bard College Conservatory of Music and served as Artistic Director of the chamber music program at the Hotchkiss School Summer Portals.

Chen earned a doctorate in chemistry from Harvard University and holds a double master’s degree from The Juilliard School in piano and violin. He received his bachelor of science degree in chemistry and physics from Yale University, where he studied with Boris Berman, Paul Kantor, and Ida Kavafian.

Chen’s notable solo recordings include Beethoven’s “Diabelli” Variations (Bridge Records), which the American Record Guide described as “a classic,” piano music by Joan Tower (Naxos Records), and sonatas and other pianos works by Shostakovich (Bridge Records), among others.

Darrett Adkins Performances by cellist Darrett Adkins have been called “heroic,” “stunning,” “intensely involving” (NY Times) and “fiery” (Boston Globe). This “adventurous champion of contemporary music” (Strings Magazine) has been the dedicatee of cello concertos by Su Lian Tan and Philip Cashian (both appear with Wernick’s concerto on his three-concerto CD Myth and Tradition) as well as Jeffrey Mumford.

He gave the first New York performance and the first recording (on Naxos records) of Luciano Berio’s Sequenza XIV, the first American Performance of Donatoni’s concerto “un ruisseau sur l’escalier” with the Tanglewood Music Center Orchestra, The New York premiers of Concertos by Messiaen (Carnegie Hall), Nordheim (Alice Tully Hall) and Wallin (Zankel Hall), as well as the world premieres of concertos by Stephen Hartke (with Robert Spano) and Andrew Mead. During his tenure with the Flux Quartet, among many creative firsts, he gave the first complete performance (and subsequent recording on Mode records) of Morton Feldman’s monumental String Quartet 2, lasting 6 continuous hours. His Aspen debut was with James Conlon conducting Boulez’s “Messagesquisse” on just 3 days’ notice. No stranger to the standard repertoire, Darrett Adkins has performed concertos with the Orchestra of St. Luke’s, The Aspen Philharmonic, the Tokyo Philharmonic, Cleveland’s Red, Seoul’s Prime Orchestra and the Suwon Philharmonic (in the Seoul Arts Center), the Orchestre National de UFF in Rio De Janeiro, Brazil, and the North Carolina and New Hampshire symphonies, among others. As the cellist of the Lions Gate Trio since 2007, he has recorded trios by Ravel, Ives and Rebecca Clarke, as well as creating the Ode to Joy, an annual week-long festival celebrating a single composer or theme that brings together the entire Hartt School community. He was a guest of the Juilliard String Quartet on their Sony Masterworks recording of Jay Greenberg’s String Quintet, and subsequently gave the first performance with the Chiara Quartet. His solo CD Hypersuite2 is available on Oberlin Music, and his recording of duos by Ravel, Kodaly and Sessions, on Engine Company Records was an Amazon top 10 classical CD. Darrett Adkins serves on the cello and chamber music faculties of the Juilliard School, the Oberlin Conservatory of Music, and the Aspen Music Festival and School.

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CoSt ★rs Jorgensen Center for the Performing Arts

2024 - 2025 Co-Chairs: Jane Moskowitz & Ruth Buczynski $750 per person, $1,500 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 Maurice Thompson Susan & John DeWolf Stan & Sandy Hale Judy & Peter Halvorson

Patricia Hempel Shareen Hertel & Donald Swinton Jan Huber Lynn & Harry Johnson Blair T. Johnson &

Blanche Şerban

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 Vin Moscardelli & Virginia Hettinger Jane & Robert Moskowitz Constance & Rodney Rock Nancy & John Silander Beverly Sims & William Okeson Winthrop Smith In Memory of Anne K. Smith Michael & Susan Zito

Join the CoStars, Jorgensen’s Active Volunteers!

The CoStars is a special group of volunteers who generously donate not only $750 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 2024-2025 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* Lynn Brown Ruth Buczynski* Carol Colombo* In Memory of Maurice Thompson* Michael Cucka Susan & John DeWolf* Ms. Joan N. Gionfriddo Stan & Sandy Hale* Judy & Peter Halvorson* Patricia Hempel* Shareen Hertel & Donald Swinton* Jan Huber* Lynn & Harry Johnson*

Blair T. Johnson & Blanche Şerban* 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* Vin Moscardelli & Virginia Hettinger* Jane & Robert Moskowitz* Craig & Karen Nass Barbara Rhein & Stan Shaw Constance & Rodney Rock* Stella Ross & Eric Schultz Cheryl A. & Mark J. Roy Nancy & John Silander* Beverly Sims & William Okeson*

Winthrop Smith* In Memory of Anne K. Smith* Dana Wilder Keith Wilson & Marjorie Hayes Karen Zimmer & Roger Ingraham Michael & Susan Zito* *Members of the Jorgensen CoStars

Directors Circle $250/person, $500/couple Anonymous Keith & Paula Enderle Mr. David Johnson David & Carol Jordan Tom Martin & Susan Spiggle Kelly Olander Steven & Barbara Rogers Ms. Joanne Sousa Ms. Nancy A. Swiacki In honor of Janina W. Swiacki & Nancy A. Swiacki

Artists Circle $125/person, $250/couple Pat Anderson Dorothy Blocker Bennett & Linda Brockman Dr. & Mrs. Steven & Elaine Cohen M. Kevin & Jeanne Fahey Betty Hale Betty & Ken Hanson Ms. Cathy Jameson & Ms. Renee Fournier Mary Lacek & Neil Aldin Gerald & Zoe Leibowitz Carl Nawrocki Len Oberg Bonnie Ryan Harriet Walker Patrons Circle $50/person, $100/couple Anonymous Roger & Cynthia Adams Ms. Sandra Albom Susan & John Boland Irene & Richard Brown Anne-Marie Campbell Kevin Conklin Paul D’Italia

Mary & Michael Donnelly Dr. & Mrs. Ed & Susan Grace Peter Jacques Richard & Karin James Col. & Dr. Leonard & Judith Kaplan Art Kirschenbaum & Cheryl Pomerantz Donald Kray Shoshana Levinson & Chris Crossgrove Robin Lubatkin Jennifer Macionus Susan Phillips Edith Posselt Yvonne & Joseph Prudente Mrs. Laura T. Raccagni Mr. & Mrs. Eric A. Santini Jacqueline Seide Paul & Annette Shapiro Dr. Jay S. Shivers Susan Stoppelman Jamie Summers Jeremy Teitelbaum Adeline Theis Ms. Susanna Thomas Shirley Waldron

Critics Circle $25/person, $50/couple Joyce Armstrong Charles Cleary Ms. Joyce Donohoo Howard & Carol Drescher Drs. Rebecaa & Jacob Earp Mrs. Joy Favretti Margaret & Peter Files Mrs. Audrey Gough Yves & Carol Kraus Wendy Leclair Mr. & Mrs. Joseph Linonis Mr. & Mrs. Wesley & Mary Lord Mr. & Mrs. Joeph Madar Donna Matulis John H. Mayer & Irwin M. Krieger Mr. & Mrs. Alan Miller Robert G. Paris Peter Polomski Sari & James Rosokoff Rabbi Jeremy Schwartz & Ms. Merle Potchinsky Joann Scott Mrs. Pamela Sutkaitis Patricia Tanaka Denise Winland Director’s Fund Diane & Joseph Briody Karen & John Foley NICABM Nancy & John Silander

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 16th 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 Harry & Lynn Johnson Jean & John Lenard Nancy & John Silander Mrs. Nora Stevens Ruby / $300+ Becky & Scott Lehmann James Knox

The University of Connecticut League, Inc. Sapphire / $100+ Ms. Margaret Dillon & Dr. Larry Bowman Maryellen Donnelly & James Krall Jan Huber Carol & David Jordan Craig Knox In memory of Jane L. Knox

The McChesney Family In honor of James Knox Joanne Sousa Pearl / up to $99 Sabrina & Daniel Bowersett Paul D’Italia Dr. Alain Frogley Karen Jason Elizabeth Kemp Robin Lubatkin Bonnie Ryan

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.

Jane & Robert Moskowitz George & Janet Jones Jean & John Lenard Lauren & Eric Prause Carol & David Jordan Elena Sevilla & Paul Aho Donald Shankweiler & Lin & Waldo Klein Greg & Mona Anderson Ruth Garrett Millikan James Knox Deborah Walsh Bellingham John & Nancy Silander June & Henry Krisch Ruth Buczynski Beverly Sims & Becky & Scott Lehmann Carol Colombo William Okeson Shoshana Levinson & Anne D’Alleva Kenneth & Janet Slavett Chris Crossgrove Kenneth Doeg Judy & Peter Halvorson Julia J. & Carl W. Lindquist, MD Marilyn & Arthur Wright Joan & Austin McGuigan Patricia Hempel

Tuesday, October 8, 2024, 7:30 pm

Jorgensen Center for the Performing Arts

The Lenard Chamber Music Series

With Ukraine in our Hearts Solomiya Ivakhiv, violin Darrett Adkins, cello Melvin Chen, piano PROGRAM NOTES Miniatures in C for Piano Trio. . . Bohdana Frolyak (Born May 5, 1968 in Vydyniv, Ivano-Frankivsk Oblast, Ukrainian SSR.) The Ukrainian composer Bohdana Frolyak, who has composed chamber, symphonic, and choral music, began her musical education in her native village with a local teacher, Vasyl Kufliuk, who had been trained in Warsaw, Poland. In 1986, Frolyak graduated from Solomiya Krushelnytska Lviv Music Boarding School, where she studied piano, music theory, and composition. In 1991, she graduated from Mykola Lysenko Lviv State Music Academy, where she had studied composition under Volodymyr Flys and Myroslav Skoryk. In 1998, she completed an internship at the same institution (now the Lviv National Music Academy). In 2009, she became an intern at the Departments of Composition and Contemporary Music and Jazz at the Kraków Academy of Music. A decade later, she completed two courses at the faculty of composition and contemporary music and jazz at the Academy of Music in Kraków.

Frolyak received a grant from the Foundation of Friends of Warsaw Autumn and the Ernst von Siеmens Music Foundation in 2001, as well as the Gaude Polonia Scholarship Program in 2004. She participates in many international music festivals in Ukraine: the “Contrasts” International Contemporary Music Festival in Lviv; the “Kyiv-Music-Fest” International Festival in Kyiv; and the “Two days and two nights of new music” Festival of Modern Art in Odessa. Abroad she has participated in the “Warsaw Autumn” International Festival of Contemporary Music as well as festivals of modern music in Germany, Switzerland, and Azerbaijan.

Frolyak has been awarded the Taras Shevchenko National Prize of Ukraine. Currently, she is an assistant professor in composition at the Mykola Lysenko Lviv National Music Academy.

In her Miniatures for piano trio, the cello and violin are always doubled. Each movement represents a different mood. The first movement is celebratory, while the second movement effectively creates a distinct mood. In the third movement, the violin is featured with a melody that resembles the Ukrainian dance arkan, a popular circle dance of the Ukrainian Hutsul people who inhabit southwestern Ukraine. The word arkan literally means lasso and originates in the Romanian language. It was derived from the Turkic word arkan, meaning rope or lasso. Men traditionally performed the dance around a burning bonfire. Arkan also refers to the step that the men perform in 2/4 rhythm. The dance begins with the right foot stepping to the side (or double stamping as the dance builds momentum), while the left foot crosses behind. The right then steps to the side again, while the left foot hops in front of the dancer with a bent knee. The dance is performed with the performers’ arms on one another’s shoulders. In professional Ukrainian dances, however, many variations may accompany this root step.

Frolyak originally composed this work for clarinet, cello, and piano in 2008; later she revised the piece and replaced the clarinet with the violin (there is also a flute version). She has said that each movement represents a different mood.

Three pieces for Violin and Piano. . .Fedir Yakymenko (Akimenko is the Russian way of spelling his name) (Born February 20, 1876, in the village of Pisky, a suburb of Kharkiv); died January 8, 1945, in Paris) Fedir Yakymenko was one of the representatives of the NeoRomantic trend in early 20th century music. When he was ten years old, he was chosen by the Royal Chapel in St. Petersburg at a time when it was common for many talented Ukrainian children to be taken from Ukraine to Russia. Yakymenko became a non-Ukrainian artist in the Russian Empire, where he studied in St. Petersburg with Balakirev, Lyapunov, and Rimsky-Korsakov.

Yakymenko’s music, notably influenced by Impressionism as well as features of the modernist movement, has much in common with the music of Glazunov. In 1914, Yakymenko was invited to teach composition and music theory at the St. Petersburg Conservatory. In 1923, he chose exile over a prominent teaching career in St Petersburg; from 1924, he worked as a professor of music at the Ukrainian Drahomanov Higher Pedagogical Institute in Prague. He finally settled in France in 1929, where he changed his name to Théodore.

There, he continued composing his lyrical, Romantic music.

In the last eighteen years of his life, he lived in both Nice and Paris and always signed his works in French. His music is permeated by French influences that are combined with Ukrainian musical language.

As a concert pianist, choral conductor, theorist, teacher, (and even a member of the French Astronomical Society) his work remained unknown in Ukraine for a long time. Now, his name has been almost completely forgotten in Europe due to his lack of musical heirs and the fact that a private archive of his works has long been inaccessible.

Instrumental music occupies a prominent place in his oeuvre: he has composed two symphonies, symphonic poems, an orchestral suite, an overture, a string trio, a cello sonata, violin sonatas, and numerous piano works (sonatas, fantasy sonatas, the Ukrainian Suite, preludes, and etudes). Some of Yakymenko’s works are based on the melodies of Ukrainian folk songs.

Yakymenko’s Three Pieces for Violin and Piano (Valse, Doux Rève, and Danse Rustique) appeared in 1912, but they are not very well known today. As the individual pieces’ titles suggest, the composer was influenced by French developments; the three pieces combine French Impressionism with some traditional Ukrainian themes. Originally, they were issued separately and sold separately to help increase the publisher’s profits. They have only recently been offered as a group.

Together they approximate a sonata in length.

There is the feeling of a Ukrainian hopak in the third movement.

The hopak was originally a Ukrainian dance. It has nothing Russian about it, but was taken from the Ukrainians and was incorrectly designated as Russian by composers such as Tchaikovsky and others. It originated as a dance of Ukrainian Cossacks, army personnel.

Yakymenko was Stravinsky’s first teacher. Stravinsky’s family was Ukrainian; his father was a singer in Kyiv Opera.

3 Morceaux, Op.14 . . . Yakiv Stepovy (Stepovy Yakiv Stepanovich, real surname Yakymenko) (Born October 20,1883 in Pisky, near Kharkiv; died November 4, 1921 in Kyiv) Yakiv Stepovy, a Ukrainian composer, music teacher, music critic, and one of the founders of the national school of composers, was the younger brother of Theodore (Fedir) Yakymenko, (above) also a composer. Stepovy became a representative of the Ukrainian musical intelligentsia of the 20th century and was one of the founders of the national school of composition.

Recruited at the age of twelve to sing in the Saint Petersburg church choir, Stepovy studied at Saint Petersburg Court Chapel with his brother Fedir. Both brothers played piano, string, and wind instruments, as well as studied conducting. Stepovy then attended the Saint Petersburg Conservatory from 1902 to 1909.

During the summers of 1909-1914, he often visited Ukraine and recorded Ukrainian folk songs. His summer trips allowed him to interact with Ukrainian musicians.

In 1914, Stepovy graduated from the Saint Petersburg Conservatory, where he had studied with Anatoly Lyadov, Alexander Glazunov, and Nikolai Rimsky-Korsakov. He made friends with Nikolai Myaskovsky, and, at Myaskovsky’s house, met famous musicians, including Sergei Prokofiev. During World War I, Stepovy was recruited into the military and worked as a secretary on a hospital train. After the war, he returned to the Ukraine and settled in Kyiv where he was a music critic and a professor at the Kyiv Conservatory. From 1917 on, he held the position of the musical director of the Muzychna Drama Theater and the State Vocal Ensemble, and he became the head of the music section of the All-Ukrainian Musical Committee attached to the

People’s Commissariat for Enlightenment. Overall, Stepovy had an important role in establishing a national school of Ukrainian music.

Most of his works were composed for piano or are chamber or vocal works; he also wrote music for children and was the founder of the Ukraine State Vocal Quartet. He composed songs and romances using the poems of Ukrainian poets as texts.

Stepovy’s romances were especially important for Ukrainian national musical culture.

Tangle and Tear for Piano Trio. . . Catherine Likhuta (Born May 28, 1981 in Kyiv) Catherine Likhuta, a Ukrainian-Australian composer, pianist, and recording artist, was raised in Kyiv, Ukraine, and then lived in the United States for eight years before moving permanently to Australia in 2012. As a result, all three countries became home to her.

Likhuta received her bachelor’s degree in jazz piano from Kyiv Glière Music College and a five-year post-graduate degree in composition from the Tchaikovsky National Music Academy of Ukraine (Kyiv Conservatory). She received a Ph.D. in composition from the University of Queensland. She is a recipient of the Vice-Chancellor’s Alumni Excellence Award from the University of Queensland.

Her music exhibits a high emotional charge. It is often programmatic in nature, characterized by its rhythmic complexity and its Ukrainian folk elements. Her works have been performed throughout North America, Europe, and Australia by many prominent soloists and chamber ensembles.

Her works have also been commissioned and performed by prominent symphony orchestras (such as Melbourne Symphony Orchestra, Queensland Symphony Orchestra, The Ohio State University Symphony Orchestra and Orchestra of the National Radio of Ukraine), and chamber ensembles (such as Chicago Symphony Orchestra Brass Quintet, Atlantic Brass Quintet, Ensemble Q, ICE, Lyrebird Brass, NU CORNO, and U.S. Army Field Band Horns.) She has held residencies at Tyalgum Music Festival, North Carolina NewMusic Initiative, University of Missouri Kansas City, University of Georgia, Ohio State University, Cincinnati Conservatory of Music, Cornell University, and Syracuse University. She is a two-time winner of the International Horn Society Composition Contest (virtuoso division) and a recipient of several awards, including two grants from the Australia Council for the Arts.

Her one movement work for violin, cello, and piano, Tangle and Tear, is a transcription of her 2018 piece for violin, bass clarinet, and piano, which was commissioned by the University of Queensland School of Music. The piano trio version was created for Liam Viney.

Likhuta has written her own program note for Tangle and Tear: “Tangle and Tear was originally written as a trio for violin, bass clarinet and piano, commissioned by Plexus (Melbourne, Australia), and later adapted for horn trio. Inspired by the amazing musicians in this ensemble and everything they do for Australian music, I wanted to use the concept behind the name Plexus as the base for the piece. One of the meanings of this word is ‘an intertwining combination of parts or elements in a structure or system [from Latin plectere–to braid]’. As I was looking into this definition, the word tangle kept coming to mind. Then, as I

enjoy juxtaposing musical ideas and characters behind them, I thought of the opposite of ‘tangle’–‘tear.’ The concept of tangle and tear grasped me immediately, and my brain kept coming up with various ways in which this concept applies to our everyday lives. For me, it represents any situation that gets out of hand and cannot be untangled or resolved in a destruction-free way. It can be something light-hearted, like having to cut blue tack out of your pre-schooler’s hair (don’t ask me how I know this…); something devastating from within, like life-threatening addictions; finally, something dramatic and terrifying, like the only possible way out of an unhealthy and violent relationship.

This last one kept churning in my head, influencing several sections of the piece, perhaps due to Australia’s out-ofcontrol situation with domestic violence… The concept is also intentionally reflected in the form of the piece: unpredictable, with some sections taking a long time to tangle and some built around the struggle of tearing something irreparable apart.

Musically, the entire piece is built on the opening’s emotional four-bar motif from the piano part.” Élégie. La Tristesse, Op. 39 for cello and piano . . . Mykola Lysenko (Born March 22, 1842; died November 6,1912) Mykola Lysenko, regarded as “the father of Ukrainian classical music,” was a pianist, conductor, and ethnomusicologist. He prolifically composed works in many genres: opera, art songs, choral works, orchestral, and chamber music.

Lysenko studied music from an early age, first receiving piano instruction from his mother. When he was only nine, he was sent to boarding school in Kyiv to study music. At this time, he began to compose music; much of his early music survives. He went on to study natural sciences at the University of Kyiv, but he

continued his music studies simultaneously. After graduation, he served as a mediator for disputes involving former serfs’ land-ownership claims. From 1867-1869, he attended conservatory in Leipzig, Germany, where he studied piano with Carl Reineke.

Beginning in the early 1860s, he began to collect and publish Ukrainian folk songs. Similar to Bartók later in Hungary, he explored deep into the country, listening to what the people were singing and creating his own individual musical language that brought together the essence of Ukrainian folksong and melded it with the styles of Chopin and Liszt in music of immediacy and appeal. In doing this, he consciously separated himself from Russian culture and concentrated on creating a national music in which he promoted the use of the Ukrainian language. He also eventually published seven volumes of folk music of the Ukraine. In the Ukraine, he is still much honored although he continues to be hardly known elsewhere.

Lysenko lived in Saint Petersburg from 1874 to 1876, where he had gone to study orchestration with Nikolai Rimsky-Korsakov; there he also met Modest Mussorgsky. By the late 1870s, Lysenko was recognized as a leading figure in Ukrainian music.

As a Ukrainian composer living in a Russian-controlled state, he endured difficulties emanating from government policies and surveillance. Lysenko received no state support, and he was often attacked in the local press because of his activities in support of Ukrainian culture.

Lysenko set a patriotic poem by Oleksandr Konysky known as the “Prayer for Ukraine,” which has become Ukraine’s spiritual anthem.” As a result of his support for the 1905 revolution, he was jailed.

From 1950 to 1959, Lysenko’s complete works were published in Kyiv in 22 volumes; unquestionably, Lysenko’s work had a strong influence on later Ukrainian composers. Élégie, La Tristesse is a short lament. When, in recent years, a musical statement reflecting the difficult situation in Ukraine was needed, Lysenko’s “La Tristesse” (“The Sadness”) was a choice that offered that. The cello recitative opening introduces melancholy, deep sadness, and also gives voice to despair and even mourning. Some have said it even could be said to reflect on the void, the forlornness, and devastation that Ukraine has had to endure in the last two years.

Piano Trio in A minor, for violin, cello, and piano, From the Summer Album 1901 . . . Vasyl Barvinsky (Born February 20, 1888 in Ternopil, Kingdom of Galicia, AustriaHungary, now Ukraine; died June 9, 1963 in Lyiv) Vasyl Barvinsky, one of the first Ukrainian composers to gain international recognition, studied piano and composition at the Lyiv Conservatory and later privately with Vizeslav Novak; he also studied in Prague, before becoming a composer and teacher as well as a professor at the Lyiv Conservatory. He also became the Director of the Lysenko Institute in Lyiv. Barvinsky composed in various genres but not ballet and opera.

His style, late Romantic with impressionistic features, was strongly influenced by Ukrainian folklore. His music is characterized by his reliance on folk melodies, although sometimes it shows the influence of Impressionism and even the mark of minimalism.

Barinsky was not a very prolific composer, and chamber music was not a large part of his oeuvre.

In 1948, Barvinsky and his wife were arrested by the NKVD, the forerunner of the KGB. The composer was sentenced to 10 years imprisonment by Soviet authorities and exiled to the Gulag. When he was exiled, most of both his manuscripts and his printed and works were burned under mysterious circumstances in Lviv, and many of his works were lost forever.

After his release in 1958, Barvinsky attempted to reconstruct works that had been destroyed, but he died before completing the massive project of simultaneously attempting to remember, recompose, and piece together all the missing compositions.

Some of the lost works were actually rediscovered after his death, but many were lost forever. (Barvinsky was posthumously “rehabilitated” in 1964 by the government.)

Barvinsky composed the Piano Trio in A minor in 1910 when he was only in his early twenties; it was never published in his lifetime. In three movements, the structure Barvinsky created is one in which all the themes of the movements are related.

The work’s first movement, Andante sentimentale, begins with a slow, sentimental introduction leading to the main part of the movement, Allegro energico. In this main section, there are slow, lyrical sections and more spirited episodes, as well as frequent tempo changes. Next, the very romantic central slow movement, Andante follows.

The lively and good-natured finale, Allegro giocoso, is subtitled alla Kolomyika, a Ukrainian music genre that combines a fastpaced folk dance and comedic rhymed verses. It is named after the village of Kolomyia in eastern Galicia, which is now western Ukraine. Kolomyikas are still danced in Ukraine and Poland as a tradition on certain holidays, during festivities, or just simply for fun and entertainment.

JORGENSEN GALLERY

FALL 2024 A Year of Plein Air Painting on Horsebarn Hill

by Blanche Şerban Sat, Sep 14 – Sat, Dec 14

Reception: Thu, Oct 17, 5:30 - 7:30 pm (Prior to Australian Chamber Orchestra) Fall 2024 Gallery Hours: Mon - Wed, 10 am - 4 pm Thurs, 1 pm - 4 pm Fri, 10 am - 4 pm Prior to performances and during most intermissions

Fall 2024 Lenard Chamber Music Series Arsentiy Kharitonov Sun, Nov 17, 3 pm

“Arsentiy Kharitonov’s Piano Magic Enraptures a Packed Carnegie Hall” – The Observer

Bennewitz Quartet & Arsentiy Kharitonov Fri, Nov 22, 8 pm

“The Bennewitz Quartet is downright wonderful, with a perfect balance of warmth and objective clarity.”

- Gramophone 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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Lenard Chamber Music Series

Thu, Oct 17 7:30 pm

Mozart, Vivaldi and the Ottomans

Richard Tognetti Director and Violin Joseph Tawadros Oud James Tawadros Rig’ & Bendir

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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Thursday, October 17, 2024, 7:30 pm University of Connecticut School of Fine Arts Deanna Fitzgerald, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

AUSTRALIAN CHAMBER ORCHESTRA Lenard Chamber Music Event

Media Sponsors

ARTISTS' REPRESENTATIVE David Lieberman info@dlartists.com

PROGRAM Australian Chamber Orchestra Mozart, Vivaldi and the Ottomans

Richard Tognetti Director and Violin Joseph Tawadros Oud James Tawadros Riq’ & Bendir Mehmed VI Vahideddin

Nihavend Taqsīm

Antonio Vivaldi

Violin Concerto in D major, RV208 “Grosso Mogul”: II. Grave

Joseph Tawadros

Kindred Spirits

Wolfgang Amadeus Mozart

Violin Concerto No.5 in A major, K.219 “Turkish”: I. Allegro aperto

Joseph Tawadros

Permission to Evaporate

Antonio Vivaldi

The Four Seasons: Summer, Op.8, No.2

Joseph Tawadros

Eye of the Beholder - INTERMISSION -

Joseph Tawadros

Give or Take

Tanburi Angeli

Makām-i-Rehavi Çember-i-Koca (Ottoman March)

Wolfgang Amadeus Mozart

Violin Concerto No.5 in A major, K.219 “Turkish”: III. Rondo.

Tempo di menuetto

Joseph Tawadros

Point of Departure

Antonio Vivaldi

The Four Seasons: Winter, Op.8, No.4

Joseph Tawadros

Existence [performed after first movement of Winter]

Joseph Tawadros

Constantinople

Australian Chamber Orchestra “The Australian Chamber Orchestra is uniformly high-octane, arresting and never ordinary.” -The Australian The Australian Chamber Orchestra lives and breathes music, making waves around the world for its explosive performances and brave interpretations. Steeped in history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations.

Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts each year. Whether performing in Manhattan, New York, or Wollongong, NSW, the ACO is unwavering in its commitment to creating transformative musical experiences.

The Orchestra regularly collaborates with artists and musicians who share its ideology: from Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Olli Mustonen, Brett Dean and Ivry Gitlis, to Neil Finn, Jonny Greenwood, Barry Humphries and Meow Meow; to visual artists and film makers such as Bill Henson, Shaun Tan, Jon Frank, and Jennifer Peedom, who have co-created unique, hybrid productions for which the ACO has become renowned.

In addition to its national and international touring schedule, the ACO has an active recording program across CD, vinyl and digital formats. Its recordings of Bach’s violin works won three consecutive ARIA Awards. Recent releases include Water | Night Music, the first Australian-produced classical vinyl for two decades, Beethoven 1, 2, & 3 Eroica and ARIA award-winning albums River and Indies & Idols.

In 2023 the ACO launched its digital streaming platform, ACO On Demand, which hosts the Orchestra’s award-winning season of cinematic concert films, ACO StudioCasts, alongside live concert streams and premium on demand content.

Richard Tognetti, Artistic Director & Lead Violin Richard Tognetti is Artistic Director of the Australian Chamber Orchestra. He has established an international reputation for his compelling performances and artistic individualism. Richard began his studies in his hometown of Wollongong with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director.

Richard performs on period, modern and electric instruments and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Richard has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, the Arctic Philharmonic and all the major Australian symphony orchestras. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November 2016, he became the Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall in London. Richard created the Huntington Festival in Mudgee, New South Wales and was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015.

Richard was the co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he cocomposed the soundtrack to Tom Carroll’s surf film Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd & I. Most recently, Richard collaborated with director Jennifer Peedom and Stranger Than Fiction Films to create the films Mountain

and River for the ACO, the former of which went on to become the highest-grossing homegrown documentary in Australian cinemas.

His recordings have received accolades around the world, and he is the recipient of six ARIA awards, including three consecutive wins for his recordings of Bach’s violin works.

Richard was appointed an Officer of the Order of Australia in 2010.

He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. In 2017 he was awarded the JC Williamson Award for longstanding service to the live performance industry.

Joseph Tawadros, Oud Joseph Tawadros AM is a leading Oud virtuoso, composer and 8-time ARIA-award winner. Born in Cairo, his chosen instrument, the Oud is an Arabic lute, the ancestor of the lute and modern guitar.

A virtuoso of diversity and sensitivity, Joseph performs in concert halls worldwide and is known for his brilliant technique, deep musicianship, storytelling and joyous style of performance. Joseph’s drive to push musical boundaries has inspired collaborations with diverse performers and a solid repertoire of innovative, original music.

He performs live as a soloist, in duo with his brother James on Egyptian percussion, with his jazz quartet or with chamber orchestras and symphony orchestras all over the world.

Joseph has performed his own works with the Australian Chamber Orchestra, BBC Symphony, Melbourne Symphony, Western Australian Symphony, Adelaide Symphony, Ukraine National Orchestra, Camerata Salzburg, and the Morphing Chamber Orchestra. His ground-breaking Concerto for Oud & Orchestra was performed with the Sydney Symphony and recorded and released

by ABC Classics in 2019.

Joseph was the first and only Australian composer whose work was performed by the Academy of Ancient Music in the United Kingdom in 2015.

He has recorded his music with many US jazz luminaries such as John Abercrombie, Jack de Johnette, Roy Ayers, John Patitucci, Bela Fleck, Mike Stern, Joey DeFrancesco, Richard Bona and Christian McBride.

Classical collaborations include Richard Tognetti, William Barton, The Grigoryan Brothers, Christian Lindberg, Gurrumul, James Crabb and his songs have been performed/recorded by The Song Company and Andreas Scholl.

His distinctive oud-playing can also be heard in films and TV such as Ali’s Wedding, The Last Days of Yasser Arafat, Paper Giants, I Remember 1948, The Water Diviner, Checkpoint, The Tentmakers of Cairo, All About E, Love Marriage in Kabul, The Portal, Haneen, The Black Balloon, The Transfer, Memory Film; a Filmakers Diary, House of Cards and The Last Ride starring Hugo Weaving.

Joseph was one of the 50 Australian composers chosen to write a fanfare celebrating the Sydney Opera House’s 50th birthday.

Joseph was awarded the Member of the Order of Australia for services to music in 2016.

James Tawadros, Riq’ & Bendir James is a world-class percussionist and soloist. His main instrument is the riq’, a small handheld tambourine, traditionally with skin covering and five pairs of cymbals. An autodidactic child prodigy, James’ uniquely innovative style, dexterity and mastery of this ancient instrument has brought him great acclaim worldwide.

James made his debut with the Australian Chamber Orchestra at just 15 years of age. Other career highlights include performing as soloist with Camerata Salzburg and the BBC Symphony Orchestra at the BBC Proms, and a duet recording collaboration with legendary

jazz drummer Jack DeJohnette (of Miles Davis fame) for the album The Hour of Separation.

He has performed with artists including Béla Fleck, John Abercrombie, John Patitucci, Howard Johnson, Richard Bona, Joey DeFrancesco, Roy Ayers, Christian McBride and Mike Stern, as well as regularly collaborating with his brother, oud virtuoso James Tawadros.

James is the recipient of five ARIA Awards for Best World Music Album.

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Let Us Cater Your Next Event or Party. We have two banquet rooms available, accommodating 25 and 50 people each (or more!). Full and half trays are available for catering orders! Please allow us at least 24 hours of notice for large orders. Seasonal items, special requests, and some entrees require additional time. www.benisct.com

Dog Lane Cafe One Dog Lane, Storrs • 860.429.4900 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

Fenton River Grill 135A Storrs Road, Mansfield• 860.786.7870 A dynamic and friendly bar and restaurant located near the University of Connecticut and Eastern Connecticut University offering an enticing selection of craft beer, carefully crafted cocktails and an approachable menu including lighter shareable plates, salads, flatbreads, sandwiches, and full dinners. Lively Bar, Cozy Atmosphere, Shareable Food, Outdoor Patio, Craft Cocktails.

The Tavern at Spring Hill Inn 957 Storrs Rd., Storrs • 860.477.1199 Welcome to The Tavern at Spring Hill Inn! Come with your family and friends, dine and stay at this beautiful historic inn and tavern. The menu includes many New England dishes like shrimp scampi, lobster and penne a la vodka, along with Tavern favorites such as burgers, and mac and cheese. Whether you’re dining on the terrace or enjoying the comfort from inside there’s something for everyone!

American Bar and Grill 1280 Hartford Tpke, Vernon CT - Exit 67 off 1-84 860-875-4443 • www.benisct.com Open Monday Saturday 11am-10:00pm Sunday 11:30am-9:30pm

Breakfast, Lunch & Dinner Daily Specials & Wine One Dog Lane, Storrs, CT doglanecafe.com

COME. SIT. STAY.

Delicious food prepared from seasonal, fresh ingredients.

Well-crafted cocktails and 20 beers on tap.

Just 5 Miles from UConn 135A Storrs Road, Mansfield, CT 860.786.7870 fentonrivergrill.com

The Tavern at Spring Hill Inn Fine Food & Spirits

Bring your guests, dine, stay and enjoy!

Open Tuesday-Sunday Sunday Brunch 10-1

restaurant & bar

39 Adamec Rd, Willington, CT Rte 32 Exit 69 off I-84.

860-477-1054 • www.hilltopct.net

Monday-Friday 11am-10pm • Saturday and Sunday Open 7am-10pm Serving Breakfast Sat and Sun 7-noon

Enjoy a Fantastic Meal with Your Friends and Loved Ones Steaks, Seafood, Pasta Dishes, Salads, Burgers, Wraps, Brick Oven Pizzas and more.

Open for dining indoor or on our beautiful patio Chefs Specials • Take Out Trays • Banquet Facilities up to 85 guests Live Entertainment Fri and Sat Night Happy Hour Daily 3:30-6:30. Extended Lounge Hours

Voted

“Best Outdoor Dining “

in the Chronicle’s Readers Choice!

Weekend Breakfast Sat & Sun 7am-noon

Enjoy our Specialty Omelets, our Creative Benedicts, Belgium Waffles, Breakfast Burritos. $6 Mimosas and more!

Enjoy the Flavor of the Neighorhood Local cuisine expertly prepared by people who appreciate good food and honest value as much as you do.

We offer

American Bar and Grill 1280 Hartford Tpke, Vernon, CT • Exit 67 off I-84.

860-875-4443 • www.benisct.com Open Monday-Saturday 11am-10:00pm Sunday 11:30am-9:30pm

Banquet Rooms for guests up to 50 or as allowed.

21435082024

Exceptional Seafood, Premium Steaks, Upscale Pasta Dishes, Daily Specials & Speciality Martinis, Wines and many Select Beers.

Pizza available for Take-Out!