Beethoven Up Close Over twenty-three concerts this season at Princeton, we will traverse a huge range of emotional and artistic peaks and valleys, from the conversational intimacy of violin duets to the earth-shaking gravitas of a Balkan choir; from the croons of a young mezzo to the harmonic explorations of Appalachian banjo music. At the core of this season’s program, though, is one rare and tremendous undertaking: the Takács String Quartet will perform the entire cycle of Beethoven string quartets across six concerts. This cycle has achieved mythic status in the 200 years since it was written, and is widely considered one of the great artistic achievements in any form. To absorb it in its entirety is a window into Beethoven’s artistic odyssey, and an opportunity to see the bigger picture of human progress. From our brochure cover to the intimacy of Richardson Auditorium, we intend to bring Beethoven as “Up Close” as possible and to take on all of the music we present in a cozy environment that promises to be joyful, challenging and even sublime.
Concert Classics Series
THURSDAY, OCTOBER 6, 2016, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
JAMIE BARTON,* MEZZO-SOPRANO JAMES BAILLIEU,* PIANO
She is a great artist, no question, with an imperturbable steadiness of tone, and a nobility of utterance that invites comparison not so much with her contemporaries as with mid-20th century greats.
Songs by TURINA, BRAHMS, DVOŘÁK and IVES A young mezzo from Georgia is currently taking the world by storm, and her name is Jamie Barton. Sporting a nose ring and an ebullient smile, Barton summons a tone that has earned her comparisons to many of the mid-20th century greats—and indeed, the magnificent Marilyn Horne called a recent recital “one of the greatest I’ve ever heard.” Just this year she won the prestigious Richard Tucker Award, an honor conferred annually on a rising American star that places her in the lineage of Renée Fleming and Joyce DiDonato. But as her voice becomes a staple in large opera houses, we are thrilled to invite
THE GUARDIAN (LONDON)
her into the more immediate and personal setting of Richardson Auditorium to ring in opening night of Princeton University Concerts’ 2016-2017 mainstage series! She brings us a program of late Romantic lieder, a wonderful showcase for her richly detailed instrument which the Los Angeles Times calls “the darkly creamy lager that poured forth from altos of yore.”
Concert Classics Series
a spiritual depth and expressive urgency that leaves you eager to hear more. THE NEW YORK TIMES
THURSDAY, OCTOBER 13, 2016, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
BELCEA STRING QUARTET* SCHUBERT BRAHMS SCHUBERT
Quartet No. 12 in C Minor, D. 703 “Quartettsatz” Quartet in A Minor, Op. 51, No. 2 Quartet No. 14 in D Minor, D. 810 “Death and the Maiden”
Twenty years ago, a group of young string players at London’s Royal College of Music came together around a collective passion for the string quartet repertoire and its endless capacity for reinterpretation. A few years later, their rendering of the Debussy and Ravel string quartets won the Gramophone Award for Best Debut Recording, and the rest is history. The Guardian (London) describes the intensity of a Belcea performance well: “[they] seize the music’s energy, shocking us out of our seats with every fortissimo.” And in addition to their eternally youthful energy, they are deeply committed to mentoring emerging groups and fostering a landscape of young quartet players—the Belcea Quartet Trust is an ambitious new project that offers intensive coaching sessions for ensembles on the rise. In their Princeton debut (and a rare visit to the United States), they will perform works by two great melodicists, Schubert and Brahms. Prepare to drive home with tunes running through your head!
Concert Classics Series
THURSDAY, OCTOBER 27, 2016, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
SERGEI BABAYAN,* PIANO DANIIL TRIFONOV,* PIANO SCHUMANN SCHUBERT BRAHMS RACHMANINOFF
Andante and Variations in B-flat Major, Op. 46 Fantasie in F Minor for Piano Four Hands, D. 940 Hungarian Dances WoO. 1 Two Suites for Two Pianos
At the age of 25, Daniil Trifonov has already established himself as one of the finest living pianists. “A fully formed virtuoso with an artistic soul to match his mighty fingers” (Seattle Times), he has appeared with all of the “Big Five” U.S. orchestras, swept First Prize and Audience Prize at both the Rubinstein and Tchaikovsky Competitions, and given a solo recital at Carnegie Hall
(Trifonov) has everything and more…technically incredible…his touch—he has tenderness and also the demonic element. I never heard anything like that. PIANIST MARTHA ARGERICH
to uproarious acclaim. Amid his touring schedule, though, he manages to continue study at The Cleveland Institute of Music, under the tutelage of prominent Armenian pianist Sergei Babayan. In an extremely special evening, this student and teacher come together to perform a program of 19th-century piano duos. It will be the first two-piano program on our series since 1982, and an unusual opportunity to witness such an intimate relationship enacted onstage—the cherished passing of music from one generation to the next will be right before our eyes.
Concert Classics Series
The Takács might play Beethoven better than any other quartet in the past or the present. THE CLEVELAND PLAIN DEALER
THURSDAY, NOVEMBER 17, 2016, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
TAKÁCS STRING QUARTET ALL-BEETHOVEN String Quartet No. 1 in F Major, Op. 18, No. 1 String Quartet No. 10 in E-flat Major, Op. 74 “Harp” String Quartet No. 14 in C-sharp Minor, Op. 131 We are absolutely thrilled and honored to be hosting the Takács Quartet for six concerts this season as they perform the Beethoven string quartet cycle in its entirety. Hailed as “chamber music playing of overwhelming intensity … simply the best I’ve seen in concert” (The Guardian, London), their 2006 box set of the sixteen quartets has become the high-water mark for these masterworks. We have included two of their programs in our Concert Classics Series, of which this special evening is the first. The program proceeds chronologically, beginning with Beethoven’s Quartet Op. 18, No. 1, written during his time studying with Haydn and deeply rooted in the 18th-century quartet tradition. His Quartet Op. 74 follows, nicknamed “Harp” for the arpeggiating pizzicato figure in the first movement. After intermission, we are treated to the tremendous, seven-movement Op. 131, the last quartet he finished. Upon hearing a performance of the quartet for the first time, Schubert remarked, “After this, what is left for us to write?” Please note: This concert is part of both the Concert Classics Series and the Beethoven String Quartet Series.
Concert Classics Series
THURSDAY, FEBRUARY 9, 2017, 8PM PRINCETON UNIVERSITY CHAPEL
ESTONIAN PHILHARMONIC CHAMBER CHOIR* Kaspars Putnins, Artistic Director “Northern Land & Spirit,” choral works by ARVO PÄRT, PYOTR ILYICH TCHAIKOVSKY, VELJO TORMIS and JEAN SIBELIUS Our spring season kicks off with the beloved Estonian Philharmonic Chamber Choir in their first visit to the Northeast since selling out Carnegie Hall in June 2014. The music of their homeland, in all its glory and gravitas, anchors their mission and repertoire, but the 25-voice ensemble brings equal might to everything from Gregorian chant to the present day. The Washington Post declares, “the choir’s performances inspire a transporting awe,” while Newsday praises their “music-making of sublime and self-abnegating mastery.” They have been nominated for no less than fourteen Grammy’s across a range of styles, and they visit Princeton with a program of favorites from Northern Europe: Tchaikovsky, Tormis, Sibelius, and the uncrowned king of Estonian music, Arvo Pärt, whose vocal music is written exclusively for the EPCC. Our beautiful and resounding University Chapel will be the perfect space to revel in the power of the human voice.
Pure, powerful and unabashedly spiritual.
THE WASHINGTON POST
Concert Classics Series
THURSDAY, MARCH 2, 2017, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
HAGEN STRING QUARTET Nothing as it seems. And it is certainly not as we thought we knew it. That is the Hagen Quartet’s message. HAMBURGER ABENDBLATT
SCHUBERT SHOSTAKOVICH DVOŘÁK
Quartet No. 10 in E-flat Major, D. 87 Quartet No. 12 in D-flat Major, Op. 133 Quartet No. 14 in A-flat Major, Op. 105
Over a three-decade career, the Hagen Quartet have become an unmatched presence on the European chamber music scene, touring and collaborating at a whirlwind pace while releasing forty-five CDs for Deutsche Grammophon. They formed in Salzburg in 1981 and have remained Austria-based, with Vienna’s Die Presse heralding them as “the highest art of existence.” We were very fortunate to host them on an infrequent U.S. tour in 2012, and we are doubly fortunate to invite them back in 2017! The group—which includes three siblings—will be performing on the four Stradivarius instruments previously owned by the Paganini, Cleveland, and Tokyo Quartets. Their program is a sample of chamber music at its finest and most exciting, from a great quartet whose unusual interpretations are always full of surprises.
Concert Classics Series
THURSDAY, MARCH 16, 2017, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
TAKÁCS STRING QUARTET ALL-BEETHOVEN String Quartet No. 7 in F Major, Op. 59. No. 1 String Quartet No. 13 in B-flat Major, Op. 130, with No. 16, Op. 133 “Grosse Fuge” Our Beethoven Series closes with three celebrated works from the master’s middle and late periods. After this season, the Takács Quartet will no longer perform the Beethoven quartet cycle in its entirety, so this performance marks a final farewell bow for the legendary interpreters, who “play the Beethoven repertoire better than any quartet past or present” (The Cleveland Plain Dealer). The evening begins with the great “Razumovsky” Quartet Op. 59, No. 1. The piece marks Beethoven’s first foray into chamber music’s more expansive forms, setting the stage for later explorations. After intermission, they bring us the Quartet Op. 130, including the original last movement, the notorious Grosse Fuge, which was so poorly received (“an indecipherable horror”) upon its premiere that Beethoven hastily replaced it with a more digestible Finale. But the bold and dense fugue is now considered a groundbreaking achievement—Stravinsky famously called it “an absolutely contemporary piece of music that will be contemporary forever.” Please note: This concert is part of both the Concert Classics Series and the Beethoven String Quartet Series.
The consummate artistry of the Takács is simply breathtaking. THE GUARDIAN (LONDON)
Concert Classics Series
THURSDAY, APRIL 20, 2017, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
Projection is onethird intellectual, one-third your soul, and onethird what you do with the right hand to spin those thoughts and feelings into sound. Christian is like a math genius of the bow. VIOLINIST PAMELA FRANK ON HER CHILDHOOD FRIEND CHRISTIAN TETZLAFF
PAMELA FRANK,* VIOLIN CHRISTIAN TETZLAFF, VIOLIN Violin duos by JEAN-MARIE LECLAIR, SERGEI PROKOFIEV, BÉLA BÁRTÓK, and JOHANN SEBASTIAN BACH Two of the most revered violinists of our generation come together for a special evening of rarely performed works for two violins. In 2000, Pamela Frank received the Avery Fisher Prize—perhaps the highest honor given to American instrumentalists. Teaching at Curtis and Peabody, her public concerts have been precious few in recent years. She has now returned to the concert stage, bringing her “big, rich sound … that breathes with purpose” (Philadelphia Inquirer). The other half of the duo is none other than Christian Tetzlaff, who is becoming a staple at Richardson Auditorium after his extraordinary solo debut in 2012 and the sold-out follow-up with his eponymous trio last season. A violin duo is perhaps the most intimate and conversational of all the chamber music forms, and these two masters—who have been friends for decades—invite us into the discussion.
Concert Classics Series
His place among the great pianists of our time is not disputed. THE GUARDIAN (LONDON)
THURSDAY, MAY 11, 2017, 8PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
MURRAY PERAHIA, PIANO PADEREWSKI MEMORIAL CONCERT
PROGRAM TBD Pianist Murray Perahia first graced our stage in the spring of 1976, shortly after winning the Leeds Piano Competition and earning his first record deal. Forty years later, he returns to Princeton as one of the most influential pianists of our time, having performed with every leading orchestra to universal acclaim, all while enjoying the friendship of the likes of composer Benjamin Britten and pianist Vladimir Horowitz. The Chicago Tribune declares, “His commanding insights are more than enough to breathe freshness and distinction into works we've heard many times before, but seldom played at this inspired level.” But while his playing has been celebrated for its meticulous, jaw-dropping clarity, he finds inspiration in the unpredictable: “What really counts for me,” Perahia reveals, “is spontaneity. I never give the same performance twice.” We are honored to have him close our season with one of his trademark unrepeatable evenings.
A singular concert samples music at the heart of American culture by two legends of the banjo.
THURSDAY, APRIL 13, 2017, 7:30PM RICHARDSON AUDITORIUM IN ALEXANDER HALL
Their harmonic lines were as close-knit as their relationship, and there was warmth and wit woven through their performances, smiles and patter. But it’s their expressive range— in Washburn’s nostalgia-tinged voice and Fleck’s insouciant solos—that made the evening so compelling. If anyone can convince a skeptical world of the beauty of the banjo, it is this pair.
BÉLA FLECK,* BANJO ABIGAIL WASHBURN,* BANJO/VOICE Béla Fleck is one of the most innovative and influential banjo players in the history of the instrument, often combining classical harmony with an effortless Scruggs style. He was at the helm of such landmark groups as the Flecktones and the Africa Project, and recently wrote his first Banjo Concerto, commissioned and premiered by the Nashville Symphony Orchestra. With 15 Grammys and 30 nominations, he has been nominated in more musical categories than any other artist in Grammy history! The collaboration with his wife and fellow banjoist, Abigail Washburn, is one of the most magical in his catalogue, with the purity of two-part counterpoint in full force guided by Abigail’s soulful singing and clawhammer style. In a season anchored by timeworn masterworks here at Princeton, Fleck and Washburn offer a slightly different perspective to the mix, drawing from the great vernacular music of Appalachia.
THE GUARDIAN (LONDON)
Béla Fleck is surely the finest banjo player on the planet, a virtuoso who can switch from bluegrass, to classical, jazz and African styles, while his wife Abigail Washburn, is also an impressive banjo performer, influenced by China as well as Appalachia.” THE GUARDIAN (LONDON)
Beethoven String Quartet Series
TAKÁCS STRING QUARTET
Hosted by Princeton Emeritus Professor Scott Burnham
Beethoven’s 16 string quartets were written over a 27-year span of his life, and they range from the wide-eyed energy and variety of his first six quartets to
RICHARDSON AUDITORIUM IN ALEXANDER HALL
The Complete Cycle of Beethoven String Quartets When the world renowned Takács Quartet completed their recording project of all sixteen Beethoven string quartets in 2006, Alex Ross of The New York Times wrote, “this survey stands as the most richly expressive modern account of this titanic cycle.” And indeed, their interpretations have stood as the gold standard for Beethoven, from the whimsical and strident early Op. 18 quartets to the cryptic and
the enigmatic and
monumental Grosse Fuge. This concert season, the Takács have
existential worlds of
chosen Princeton as one of three venues in the United States where
his final five quartets. It is impossible to
they will perform the entire cycle, across six concerts in our Richardson Auditorium, for the last time together.
think of a more
In a brief thirty-year career, Ludwig van Beethoven journeyed further—
expressively, conceptually, and psychologically—than any other
onto Beethoven, onto the genre of the string quartet, or
composer before or since. His artistic odyssey is considered one of the supreme accomplishments in human history, compared to the building of cathedrals or the rise of empires. The concept of absolute music—music for its own sake, not “about” anything, or in service of
even onto the entire
the church—crystallized in his wake. And while his nine symphonies
arguably contained many of the grandest and most boundary-breaking
of chamber music in
moments in his catalogue, the sixteen quartets are where he explored
the modern West.
within and made his most personal statements. Collectively, the cycle
PRINCETON EMERITUS PROFESSOR SCOTT BURNHAM
reads like a blueprint for his artistic development. Over these six performances with the Takács Quartet, we are treated to the ultimate thrill of seeing this blueprint, even more relevant in 2016 than on the day of Beethoven’s death in 1827, unfold before our eyes. Join us for all or as many as you can and be a part of history in the music-making right here on Nassau Street.
Beethoven String Quartet Series
TUESDAY, NOVEMBER 15, 2016, 8PM* String Quartet No. 2 in G Major, Op. 18, No. 2 String Quartet No. 11 in F Minor, Op. 95 “Serioso” String Quartet No. 13 in B-flat Major, Op. 130 with Finale
THURSDAY, NOVEMBER 17, 2016, 8PM String Quartet No. 1 in F Major, Op. 18, No. 1 String Quartet No. 10 in E-flat Major, Op. 74 “Harp” String Quartet No. 14 in C-sharp Minor, Op. 131
WEDNESDAY, JANUARY 18, 2017, 8PM* String Quartet No. 5 in A Major, Op. 18, No. 5 String Quartet No. 4 in C Minor, Op. 18, No. 4 String Quartet No. 15 in A Minor, Op. 132
THURSDAY, JANUARY 19, 2017, 8PM* String Quartet No. 3 in D Major, Op. 18, No. 3 String Quartet No. 8 in E Minor, Op. 59, No. 2 String Quartet No. 12 in E-flat Major, Op. 127
No other composer has posed so many questions about the form and emotional content of a string quartet, and come up with so many different answers. The need we feel to revisit our interpretations of the quartets is inspired in part by the spirit of exploration that runs through them. FROM BEETHOVEN FOR A LATER AGE: LIVING WITH THE STRING QUARTETS BY EDWARD DUSINBERRE (FIRST VIOLINIST OF THE TAKÁCS STRING QUARTET)
WEDNESDAY, MARCH 15, 2017, 8PM* String Quartet No. 6 in B-flat Major, Op. 18, No. 6 String Quartet No. 17 in F Major, Op. 135 String Quartet No. 9 in C Major, Op. 59, No. 3
THURSDAY, MARCH 16, 2017, 8PM String Quartet No. 7 in F Major, Op. 59, No. 1 String Quartet No. 13 in B-flat Major, Op. 130, with No. 16, Op. 133 “Grosse Fuge” Two of the six concerts are part of the Concert Classics Series. The remaining four concerts are dubbed “Beethoven Up Close.” With the Quartet seated directly in the center of the hall and audience surrounding them on all sides, Richardson will be transformed into a circle, a reflection of the cycle itself. Seating in the Beethoven Up Close set up will be limited to downstairs only. * Beethoven Up Close seating
Launched last year to great acclaim, this new series pushes the traditional concert setup towards the epitome of music-without-bounds. Presented with the audience seated onstage around the artists, PUC125 offers a diverse array of hour-long, interactive concerts that experiment with the ideal way of listening to music. Exploring everything from lighting and artwork on the stage to seating arrangements, interaction with the artists, and the most vivid, eclectic programs reflecting the voices of a new generation, the series aims to bring the music up-close to the listener in as comfortable, fresh and exciting a way as possible.
THURSDAY, SEPTEMBER 29, 2016, 6PM & 9PM
Augustin Hadelich,* Violin Pablo Sáinz Villegas,* Guitar “Histoire du Tango” – works by Astor Piazzolla, Manuel De Falla, Eugène Ysaÿe The season will dance into being with a dazzling program infused with fiery Spanish flare. Grammywinning violin phenomenon Augustin Hadelich and award-winning Spanish guitarist Pablo Sáinz Viellegas bring highlights from their popular album, Histoire du Tango, tracing the history of Argentina’s national dance in Piazzolla’s title track, and stirring up folk, gypsy and flamenco dances. Transforming the Richardson Stage into an Argentine nightclub, these musicians will conjure a dark and sultry night of fiery, hot-blooded dancing. We dare you to sit still!
Hadelich’s playing combined impressive technical command with plush, richtextured sound. And with magisterial poise and serene control… THE NEW YORK TIMES
SUNDAY, FEBRUARY 12, 2017, 2PM & 5PM
Colin Currie,* Percussion “Percussion Alive!” – solo percussion music by Per Norgaard, Toshio Hosokawa, Karlheinz Stockhausen, and Iannis Xenakis One of the most internationally sought-after solo percussionists of our time, Colin Currie will perform feats of percussion acrobatics, bouncing seamlessly between instruments with his hallmark “cool headed brilliance” (The Daily Telegraph, London). Having premiered works by most of today’s leading composers, all of Colin Currie’s performances sparkle with novelty and spontaneity. With the seemingly infinite range of sounds conjured by his instruments, Currie will show music at its most primal, liberating, and unexpected.
Surely the world’s finest and most daring percussionist THE SPECTATOR (LONDON)
Concerts on the PUC125 series are only offered as single tickets. Single tickets for PUC125 events will go on sale in the month preceding each concert date. Exact sale dates will be announced on our website.
PUC125 offers wonderful intimacy with the performer and other audience members! The music is so close to you, it’s magical. PUC125 PATRON
THURSDAY, MARCH 30, 2017, 6PM
SUNDAY, APRIL 30, 2017, 5PM & 7:30PM
Pekka Kuusisto,* Violin Nico Muhly,* Piano
Voice & Anglo-Saxon Harp “Beowulf” – the epic book in performance Watch as Bagby summons music’s magical capacity to travel across time and bring narrative to life. Accompanied by a six-string lyre, the riveting adventures of the legendary warrior Beowulf in his quest to defeat the horrific monster Grendel will be recited, chanted, and sung in the original Old English in which this illustrious 11th-century masterpiece was written. This production, critically acclaimed for almost two decades, is a rare chance to encounter one of the most popular texts in western literature as it was originally performed.
a double tour de force of scholarly excavation and artistic dynamism. SAN FRANCISCO CHRONICLE
“Breaking Ground” – music by J.S. Bach, Philip Glass, Arvo Pärt, Nico Muhly, with Finnish folksongs According to The Telegraph (London), Finnish violinist Pekka Kuusisto “surely has the most personal sound of any classical violinist now alive.” Composer-pianist Nico Muhly is one of the most celebrated and sought-after classical composers of the last decade and is the youngest composer ever commissioned by the Metropolitan Opera. These ground-breaking classical musicians join forces for a hallmark program of their own curating that combines the music of J.S. Bach with contemporary fare.
Kuusisto and Muhly brought a sense of such intimacy and spontaneity...more concerts should feel this way. THE WASHINGTON POST
All in the Family
Your youngster’s life-long love of music will begin the moment he or she encounters chamber music in person at Richardson Auditorium in Alexander Hall. Back by popular demand, “Baby Got Bach” for pre-schoolers will return in the fall. Older kids, ages 6-12, will be able to enjoy PUC’s staple family concert, “Meet the Music,” in the spring.
SATURDAY, NOVEMBER 5, 2016, 1PM
BABY GOT BACH
Back by popular demand, pianist Orli Shaham will introduce pre-school-aged kids to the joy of live classical music played by renowned musicians.
SATURDAY, MARCH 11, 2017, 1PM
MEET THE MUSIC
The musicians of The Chamber Music Society of Lincoln Center and host Bruce Adolphe return on Pi Day Weekend with a program that honors Princeton’s own Albert Einstein.
Single tickets to these events will go on sale ONLINE ONLY on Monday, August 1, 2016 and everywhere else on Tuesday, September 6, 2016.
Sponsored by Princeton University Concerts Formed in 1994-95, this mixed ensemble comprises Princeton’s Performance Faculty, distinguished guest artists, and supremely talented Princeton students. Richardson Chamber Players concerts take place on Sundays at 3pm in Richardson Auditorium in Alexander Hall. The artistic direction of the group rotates. This seasons’ programs were conceived by a small committee consisting of cellist Alistair MacRae, mezzo-soprano Sarah Pelletier, and percussionist Benjamin Herrington. Michael Pratt is a Founding Director and Advisor.
SUNDAY, OCTOBER 16, 2016, 3PM
An eclectic program of chamber works by Charles Ives, William Bolcolm and Paquito D’Rivera
SUNDAY, FEBRUARY 19, 2017, 3PM
England’s Green Program TBD
SUNDAY, APRIL 9, 2017, 3PM
Looking Forward, Looking Back
Including a new work by Princeton composer/faculty Juri Seo
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PRINCETON UNIVERSITY STUDENTS
CONCERT CLASSICS SERIES (The Best Deal) 9 Thursday night concerts
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Jamie Barton, Mezzo-soprano Belcea String Quartet Sergei Babayan Piano/Daniil Trifonov, Piano Takács String Quartet (November 17) Estonian Philharmonic Chamber Choir Hagen String Quartet Takács String Quartet (March 16) Pamela Frank, Violin/Christian Tetzlaff, Violin Murray Perahia, Piano
A $310 B $255 C $140 CONCERT CLASSICS SERIES PLUS (An Even Better Deal) Add the remaining 4 Beethoven Up Close concerts to a Concert Classics Series subscription for an additional $80, a savings of 50% off the single ticket prices!
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RICHARDSON AUDITORIUM GROUND FLOOR
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BÉLA FLECK & ABIGAIL WASHBURN, BANJOS Add this special event to a CONCERT CLASSICS SERIES and receive a 20% discount off single ticket prices: All seats $32.
Single tickets for all events EXCEPT PUC125 will go on sale ONLINE ONLY on Monday, August 1, 2016 and everywhere else on Tuesday, September 6, 2016. Concerts on the PUC125 series are only offered as single tickets. Single tickets for PUC125 events will go on sale in the month preceding each event. Please see the website for exact sale dates. PLEASE NOTE A processing fee of $8 is added to all CONCERT CLASSICS SERIES orders and $6 to all À LA CARTE SERIES orders. We are not able to offer refunds or exchanges on ticket orders. All programs and artists are subject to change.
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PHOTOGRAPHY JAMIE BARTON: Stacey Bode. BELCEA STRING QUARTET: Ronald Knapp. DANIIL TRIFONOV: Dario Acosta. TAKÁCS STRING QUARTET: Keith Saunders. ESTONIAN PHILHARMOIC CHAMBER CHOIR: Kaupo Kikkas. HAGEN STRING QUARTET: Harald Hoffmann. PAMELA FRANK: Nicolas Lieber. CHRISTIAN TETZLAFF: Giorgia-Bertazzi. MURRAY PERAHIA: Felix Broede. BÉLA FLECK AND ABIGAIL WASHBURN: Jim McGuire. AUGUSTIN HADELICH AND PABLO SÁINZ VILLEGAS: Rosalie O’Connor. TAKÁCS STRING QUARTET: Ellen Appel. COLIN CURRIE: Marco Borggreve. BENJAMIN BAGBY: Susanna Drescher. PEKKA KUUSISTO: Kaapo Kamu. NICO MUHLY: Matthew Murphy. MEET THE MUSIC Illustration: Roger Roth. GRAPHIC DESIGN, ILLUSTRATION
carol a.s. derks | derkstudio
Published on Apr 16, 2016
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