Global performance. World-class entertainment. You have to be here.
2017-2018 Season
ALL-ACCESS PASSES and TICKETS: boulderbachfestival.org 720-507-5052 BAC HT OB E RFE ST Thurs., Oct. 12, 7:30pm & Sat., Oct. 14, 2017, 7:30pm
Violinist Elizabeth Blumenstock is joined by extraordinary colleagues from Amsterdam, Basel, and Boston. Works by Telemann, Handel, Vivaldi, J.S. Bach, and Mozart.
A WORLD T RANS FORMED Saturday, Dec. 9, 2017, 7:30pm
Mina Gajic, Richie Hawley, and Zachary Carrettin perform works by Berg, Antheil, Bartok, Ives, Bolcom, and Gottschalk-a world premiere. Erard piano 1895, Buffet clarinet 1919, gut-strung Kinberg violin 1948.
S C HWARZ -B OURNAK I DUO Thurs., Feb. 8, 7:30pm & Sat., Feb. 10, 2018, 7:30pm
New York-based cello/piano duo and 1st prize winners in the 2016 Boulder International Chamber Music Competition Art of Duo. Works by Bach, Beethoven, Brahms, and Bloch.
ETE RNAL S PI RI T Thursday, Mar. 15, 2018, 7:30pm
Vocal soloists Josefien Stoppelenburg, Abigail Nims, Derek Chester, and Ashraf Sewailam join the BBF Chorus and Orchestra in four cantatas by J.S. Bach, each distinct, lyrical, and powerful.
L A V E N E XI ANA Thursday, May 24, 2018, 7:30pm
Carrettin and friends present chamber music for voices and strings by Antonio Lotti, Tarquinio Merulo, Giovanni Gabrieli, Antonio Vivaldi, and finally - Bach’s Orchestral Suite #2 in B Minor.
Concert venues: Thursdays in Boulder at Seventh Day Church & Saturdays at the Longmont Museum: Stewart Auditorium
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Contents
With US
Spotlight: The Merry Widow .................6 Calendar ..............................................8 Spotlight: The Triplets of Belleville ......14 Spotlight: Faculty Tuesdays ...............22 Faculty Tuesdays Schedule...............24 Artist Series donors ...........................26 TakĂĄcs Society donors .....................30 Eklund Opera donors .......................32 Personnel lists ..................................34
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Spotlight The Merry Widow Think opera is just a bunch of bad actors standing around warbling depressing lyrics in a foreign language for four hours? Think again. In Eklund Opera Program Director Leigh Holman’s opinion, “park and bark”—the staging technique, or lack thereof, described above—should be illegal on every opera stage. “If you have never been to an opera and are afraid you’ll just see people frozen still shouting at you, rest assured, you’ll see none of that here,” Holman says. With this fall’s production of “The Merry Widow,” a whimsical Parisian romp written by Franz Lehár in 1905, Holman is out to prove just how enjoyable opera can be. Yes, it’s sung in a foreign language. But it’s also full of hummable melodies, can-can skirts, flirting and fun. “You’ll see beautiful gowns and beautiful people, and you’ll laugh,” Holman says.”The music is tuneful—so tuneful you might even want to sing along.” “The Merry Widow” takes place at a gala reception in Paris, where an ambassador plans to save his poverty-stricken
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kingdom by sending one of his noblemen to court a fabulously wealthy woman. Like any romantic comedy worth its salt, it’s a masterpiece of mix-ups, meet-cutes and, ultimately, marriage. Holman says Eklund Opera’s setting stays true to the original with sets inspired by Maxim’s, a famous Art Nouveau nightclub frequented by titans of the art world at the turn of the century, including Picasso, Toulouse-Lautrec and Lehár himself. “There will be all these beautiful details and pops of red, just like at Maxim’s.” While the lively, light-hearted opera is a perfect introduction to the genre for newcomers, Holman says it’s equally enjoyable for die-hards. “Viennese operetta buffs are similar to Gilbert and Sullivan buffs—they know the piece, the music and the humor,” Holman says. “They keep coming back to enjoy this piece over and over again, as true enthusiasts do.” Sung in English with German subtitles Oct. 27-29, 7:30 p.m. in Macky Auditorium Tickets start at $20
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Monday-Saturday, 10-6 Sunday, 12-5
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2017-18 Season
Martha Graham Dance Company Woodland by Pontus Lidberg Xin Ying in Woodland Photo by Brigid Pierce
Martha Graham Dance Company
Joshua Bell
The Triplets of Belleville Cine-Concert
Ailey II
The provocative, boundary-pushing legacy of one of history’s greatest dancers and choreographers lives on in her award-winning troupe. Martha Graham Dance returns to Boulder for an energetic and poignant performance of the dance legend’s greatest works. Thursday, Oct. 5, 2017, 7:30 p.m. Benoit Charest, composer-conductor Experience the award-winning animation of a Cannes Film Festival darling on Macky Auditorium’s big screen, complete with a live performance of the film’s jazzy, swinging score by Le Terrible Orchestre de Belleville. This quirky, irresistible French film follows one woman on a citywide search for her missing grandson. Sunday, Oct. 15, 2017, 7:30 p.m.
Yekwon Sunwoo
Van Cliburn Gold Medalist Held every four years in tribute to history’s greatest American pianist, the Van Cliburn International Piano Competition is the Olympic Games of the piano. The competition winner, Yekwon Sunwoo of South Korea, stops in Boulder for a dazzling solo recital. Friday, Nov. 3, 2017, 7:30 p.m.
Dianne Reeves
with Peter Martin, Romero Lubambu, Reginald Veal and Terreon Gully
Usher in the holidays with the world’s greatest living jazz and R&B vocalist, who dazzles audiences worldwide with her breathtaking virtuosity and remarkable improvisation. The Grammy-winning singer celebrates the joy and warmth of the season with a concert of holiday favorites. Saturday, Dec. 16, 2017, 7:30 p.m.
Béla Fleck and Brooklyn Rider
Don’t miss a rollicking collaborative concert with world-famous, 16-time Grammy-winning banjoist Béla Fleck and Brooklyn Rider, “one of the wonders of contemporary music” (NPR). Slipping seamlessly between bluegrass, jazz and classical, this quintet’s distinctive sound can’t be defined. Saturday, Jan. 20, 2018, 7:30 p.m.
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With more than 40 awards, seven chart-topping albums and nearly three decades of nonstop musical success, no other classical artist can compare to Joshua Bell. The American violinist, a household name worldwide, gives an arresting, one-night-only solo recital in Boulder. Friday, Feb. 9, 2018, 7:30 p.m. Named in memory of larger-than-life choreographer Alvin Ailey, the troupe Ailey II is universally renowned for merging the spirit and energy of the country’s best young dance talent with the passion and creative vision of today’s most outstanding emerging choreographers. Saturday, Feb. 17, 2018, 7:30 p.m.
Lila Downs
Boasting a “cantina-classical” (The Washington Post) voice and delightfully eclectic compositions inspired by ancient cultures and her own MexicanAmerican heritage, Lila Downs is a singular performer. Expect elements of jazz, blues and world music to collide in Downs’ seductive, joyful concert. Saturday, March 3, 2018, 7:30 p.m.
RUBBERBANDance
Embracing Artistic Director Victor Quijada’s unusual journey from the streets of Los Angeles to the barre, Montreal-based RUBBERBANDance uses the spontaneity of Hip-Hop, the refinement of ballet and the expressiveness of contemporary dance to create fresh, dynamic works. Saturday, March 24, 2018, 7:30 p.m.
Quicksilver Baroque Ensemble
This game-changing chamber ensemble, “revered like rock stars within the early music scene” (The New York Times), breathes new life into centuries-old sounds with brilliant, historically-informed talent. Quicksilver Baroque’s concert shines a spotlight on hidden gems by Castello, Merula and other long-forgotten 17th-century Italian and German composers. Friday, April 20, 2018, 7:30 p.m.
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2017-18 CONCERTS Sunday, Sept. 24, 4 p.m. Monday, Sept. 25, 7:30 p.m. Sunday, Oct. 29, 4 p.m. Monday, Oct. 30, 7:30 p.m. Sunday, Feb. 4, 4 p.m. Monday, Feb. 5, 7:30 p.m. Sunday, March 11, 4 p.m. Monday, March 12, 7:30 p.m. Sunday, April 29, 4 p.m. Monday, April 30, 7:30 p.m.
ALTIUS QUARTET The Grammy Award-winning string quartet has been moving audiences and selling out concerts for three decades at CU Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, "The Takács Quartet are matchless, their supreme artistry manifest at every level."
COMING IN SPRING 2018 Sweeney Todd Ariodante
THE MERRY WIDOW
Vienna’s definitive romantic operetta uses laughout-loud comedy and lavish costumes to concoct the perfect musical confection. At a gala reception in Paris, an ambassador plans to save his povertystricken kingdom by sending one of his noblemen to court the fabulously wealthy Hanna Glawari.
Oct. 27-29, 2017
UPCOMING EVENTS A Doll House Parallax The Marriage of Bette and Boo Eurydice FRESH: Fall 2017
[UN] W.R.A.P.: DANCE CINEMA
THE ADDING MACHINE
Sept. 22-24, 2017
Sept. 29-Oct 8, 2017
What is dance cinema and how has it evolved? Find out at a weekend of film screenings, live multimedia performances and interactive panels with performers, filmmakers and scholars from the field.
Sunday, Jan. 21, 4 p.m. Monday, Jan. 22, 7:30 p.m.
Boulder's most beloved December tradition gathers together CU's most remarkable student and faculty talent for an unforgettable concert that's fun for the whole family. Delight in the twinkling lights, seasonal greenery and festive atmosphere of Macky Auditorium as student choirs, bands and orchestras perform holiday favorites and new surprises. Dec. 8-10, 2017 � Tickets on sale Sept. 17
A landmark of American Expressionism, Elmer Rice’s 1923 play tells the timeless story of a glum accountant’s descent into oblivion when he discovers he’s been replaced by a machine.
THE LONG CHRISTMAS RIDE HOME
On the icy road home from a disastrous Christmas celebration, a family of five is forever changed by one traumatic moment. This experimental play uses traditional Japanese puppetry to explore what keeps families together and what tears them apart.
TAKING UP SPACE MFA candidates Aaron Allen, Jr. and Vivian Kim explore questions of ethnicity and sexuality in a shared concert that merges and remixes multiple dance styles.
Oct. 20-22, 2017
Oct. 18-22, 2017
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Spotlight
The Triplets of Belleville Cine-Concert
Charlie Chaplin meets Tim Burton. The Marqius de Sade meets Lance Armstrong. Somehow, it’s impossible to describe “The Triplets of Belleville” with references or comparisons. It’s something you just have to see for yourself.
“There is not even a way I can tell you what the film is ‘like,’ because I can’t think of another film ‘like’ it,” wrote the famous film critic Roger Ebert in 2003. “To call it weird would be a cowardly evasion. It is creepy, eccentric, eerie, flaky, freaky, funky, grotesque, inscrutable, kinky, kooky, magical, oddball, spooky, uncanny, uncouth and unearthly. “None of [these words] do the trick, either,” he admitted. “I am completely failing to do justice to this film.” What sort of movie leaves the world’s most famous film critic bewitched and at a loss for words? The sort that’s animated yet edgy enough to gain a cult following at Cannes. The sort whose haunting style contrasts perfectly with a soundtrack of upbeat, irresistible jazz. The sort that’s about French style, cycling, family relationships and urban life, all at the same time. Boulderites who love quirk, camp and cinema have the chance to check out the unique spectacle of “Triplets” on Macky
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Auditorium’s big screen this fall. Best of all, they’ll get to hear the movie’s swinging score performed live by Le Terrible Orchestre de Belleville. The story of “Triplets” takes place in Belleville, a fictional European capital that resembles Paris. An old woman buys her young grandson a bike, and years later, he becomes the world’s fastest cyclist. When he’s suddenly kidnapped by a gambling ring, his grandmother takes to the streets with her trusty dog and a trio of singers to track him down. The New York Times calls it a “tour de force of ink-washed, crosshatched mischief, and unlikely sublimity.” The Age calls it “a gloriously oddball animation, adorned with superb songs that glitter like lights on the Seine and clatter like old cars on cobblestones.” But at its heart, “Triplets” isn’t a string of adjectives. It’s a feeling you can’t quite articulate … unless you’re Roger Ebert; “‘The Triplets of Belleville’ will have you walking out of the theater with a goofy damn grin on your face, wondering what just happened to you.”
Sunday, Oct. 15, 7:30 p.m. in Macky Auditorium Tickets start at $20
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Preschool – 8th Grade October 6-15, 2017
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2017-2018 SEASON
9/24–BOULDER PHIL AT 60 7 PM at Macky Jon Nakamatsu, piano 10/14–MUSIC OF RESISTANCE 7:30 PM at Macky David Korevaar, piano CU Boulder and Western Illinois University Choirs 11/24-26–THE NUTCRACKER 4 performances at Macky Boulder Ballet 1/13–BACH TRANSFIGURED 7:30 PM at Macky Simone Dinnerstein, piano
2/3–CIRQUE GOES TO THE MOVIES 2 PM and 7:30 PM at Macky Cirque de la Symphonie 4/7–A SONG FOR SWANS 7:30 PM at Macky Charles Wetherbee, violin Cleo Parker Robinson Dance Ensemble Stefan Jackiw, violin 4/28 - WEST SIDE STORY: BERNSTEIN AT 100 7:30 PM at Macky a collaboration with Central City Opera
Tickets start at $13; Students $5!
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Ars Nova Singers Maurice Duruflé:
The Complete Choral Works October 6, 7
Christmas with Ars Nova:
Fire and Ice Worshipping • Exploring spirituality weekly in worship, with our Theologian-in-Residence program, Together and on our beautiful indoor labyrinth. Supporting Supporting the arts with our ensembles-inthe Arts • residence, art exhibits in the Sanctuary Gallery, and Arts for Kids’ Souls summer camp. Welcoming EVERYONE • Working for social justice and equality for all.
Special guest artist Nicolò Spera, guitar
December 9, 10, 14, 15
Our 32nd Season 2017-2018
JOIN US FOR SUNDAY WORSHIP AT 10:30 AM Rev. Matthias Krier, Pastor
CHURCH Loving God by loving others
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Takรกcs Quartet Haydn, Mendelssohn and Brahms
Sept. 24-25, 2017
Program String Quartet, Op. 76 No. 2 “Fifths” I. Allegro II. Andante o più tosto allegretto III. Menuetto. Allegro ma non troppo IV. Vivace assai String Quintet No. 2 in B-flat Major, Op. 87 I. Allegro vivace II. Andante scherzando III. Adagio e lento IV. Allegro molto vivace Erika Eckert, viola
Franz Joseph Haydn (1732-1809)
Felix Mendelssohn (1809-1847)
―Intermission― String Sextet No. 2 in G Major, Op. 36 I. Allegro non troppo II. Scherzo – Allegro non troppo – Presto giocoso III. Poco Adagio IV. Poco allegro Erika Eckert, viola David Requiro, cello
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Johannes Brahms (1833-1897)
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Program Notes Program Notes by Marc Shulgold Music for Four, Five and Six Here is chamber music as spectator sport—a visual treat, as well as a banquet for the ears. Watch the way each composer handles (and juggles) his gathered forces, as players are added to the original foursome. Starting with the Haydn Quartet, observe in the third movement how the lower strings chase after the violins. Fingers and bows fly about in the Mendelssohn when a second viola joins the quartet, creating new sonorities and new pairing possibilities (at one point, the cello reaches up high, seeming to add a third viola to the mix). When Brahms presents pairs of violins, violas and cellos, who gets to introduce each melody? How are passages tossed from one group to another? Use your eyes as well as your ears—and please, don’t read during the music! String Quartet, Op. 76 No. 2 “Fifths” Franz Joseph Haydn You can learn a lot about late 18th century chamber works by knowing a little about their intended audiences. And a journey through Haydn’s 83 string quartets offers ample proof of how listeners impacted his compositions. During 30 years in the employment of the Esterházy family at their palace not far from Vienna, Haydn had the opportunity to experiment with the unlimited potentials of writing for two violins, viola and cello—sharing his thoughts with young Mozart, who returned the favor in his quartets. But Haydn also knew the tastes of his hosts, and crafted music that was intellectually stimulating but not overly difficult for them to follow. And, no doubt, many of those chamber works were intended merely as accompaniment to meals and card games. That long, fruitful relationship ended in 1790, when the composer was released from his Esterházy contract and became a free spirit, so to speak. By then, all of Europe knew of his greatness. The late quartets, of which the six comprising Op. 76 would be his final completed collection, were penned in 1795 and published two years later. They reveal more than a maturity and mastery of the string quartet—they suggest that Haydn was now interested in engaging his listeners (as well as players, many of them home-bound amateurs). The second of the six, set in D minor, demands a focus from all in attendance. It’s likely the composer had Mozart in mind with this work, perhaps consciously expanding on the possibilities of Mozart’s own D minor Quartet, written in 1783 as one of six dedicated to Haydn. Though it was common that a collection of six quartets would include one not set in a major key, this late work digs deeply into the darkness and mystery of D minor. For reference, consider Mozart’s Piano Concerto No. 20, his Requiem and Bach’s Art of the Fugue, all set in that imposing key. There’s more than a touch of Bach in the opening movement of Op. 76, No. 2. The first violin offers two pairs of notes, each showing a drop of five tones (A down to D, E down to A), giving the work its nickname of “Quinten” (Fifths). Not to worry if you don’t immediately pick up on that interval—you’ll hear it shared by the four players a few dozen times in the opening Allegro, those fifths occasionally turned upside down, or overlapping or played in reverse (Bach would approve). The second movement, a pleasant theme and variations, bears the wordy title Andante o più tosto allegretto, meaning that it’s not too slow or too fast. It’s a relatively simple tune, introduced by the first violin over plucked accompaniment, expressed with elegant reserve and charm. Quite a contrast to the following Menuetto, a strange, minor-key work that is known as the “Hexen-menuett” (Witches’ Minuet) launched with the violins playing a heavy-footed tune in octaves, followed closely note-for-note by the lower strings, also in octaves. This undanceable minuet is contrasted by a smiling D Major trio marked by choppy repeated notes. Soon, though, our grins vanish when the stern minuet returns. As one might expect, Haydn can’t help finishing up with a happy, folk-like Vivace cast, almost imperceptibly, in D minor. Here, we’re reminded of Haydn’s Hungarian roots and his irrepressible wit (watch for those donkey brays).
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String Quintet No. 2 in B-flat Major, Opus 87 Felix Mendelssohn As his brief, whirlwind life neared its end, Mendelssohn needed a break. He had become exhausted from his conducting and performing obligations in Berlin, Leipzig and London, so he headed to a Frankfurt apartment for some family time, turning down an invitation to conduct in New York City. “These are happy days,” he wrote. It was the summer of 1845, and those pleasant months witnessed the creation of one of his final chamber pieces, the String Quintet No. 2. (The first had come back in 1826, the year of his magical overture to A Midsummer Night’s Dream). Not surprisingly, there is plenty of joy in Op. 87—but also some deep sadness, heard most tellingly in the Schubert-like Adagio. It seems almost like a premonition of the tragedy that would strike Mendelssohn two years down the road, with the sudden death of his sister Fanny, followed closely by his own. But there is also a hidden frustration that the composer felt with this work. He never published it (that would come posthumously in 1851), expressing particular displeasure with the last movement, and seeming to view the manuscript as a rough draft. Not that it sounds that way to our ears. Its opening is pure, perfect Mendelssohn, his trademark energetic tremolos supporting a buoyant ascending figure in the violin. When Mozart approached this genre, he augmented the quartet with a second viola—the same approach taken here and in Mendelssohn’s Quintet No. 1 (Schubert’s String Quintet added a second cello). That addition brings richness to the mid-range, clearly heard in passages of almost orchestral thickness. But then, there is the modestly sweet, waltz-like Andante scherzando, featuring some charming pizzicato touches (watch for violin phrases that are copied in succession by the other players). Despite the composer’s misgivings, the Quintet’s final Allegro bubbles with enthusiasm—not to mention more violin virtuosity and accompanying tremolos, plus some wonderful harmonized duets by the violins and violas. Not bad for a rough draft. String Sextet No. 2 in G Major, Op. 36 Johannes Brahms Becoming an important composer demands a lifetime of learning, experimenting and just plain living. A glance at Brahms’ list of early works shows him developing the techniques necessary to gain confidence and, eventually, public acceptance. That list is dominated by chamber and piano pieces, choral works and songs sprinkled around such early ventures into orchestral writing as the two Serenades and the Piano Concerto No. 1—along with preliminary sketches for the Symphony No. 1. In producing two string sextets within a few years of each other, he was improving his skills as a contrapuntalist, setting one or two solo voices against intricate accompaniments. In Op. 36, we sense his excitement at giving the cello fresh prominence, and, in the finale, nimbly managing multiple musical lines. (In avoiding the string quartet, it should be mentioned, he was also escaping comparisons with Beethoven.) Not that the studious Brahms was locked away from the outside world: As he worked on the Sextet No. 2 in 1864, he was wrestling with his passionate feelings for two women. Most famous was his complex lifelong relationship with Clara Schumann, who’d earlier received a letter bearing a theme that would reappear in the new Sextet’s slow movement. And then, there was Agathe von Siebold (1835-1909), a young soprano with a lovely figure and long black hair he’d met in Göttingen during the summer of 1858 (Brahms’ companion Joachim was also smitten). So deep were their feelings for each other that Agathe and Johannes soon agreed to marry. Friends felt this was the proper choice, though Clara could not hide her jealousy. But the public humiliation Brahms suffered at the Leipzig premiere of his Piano Concerto No. 1 in 1859 made him realize that marriage to a struggling composer was not the ideal life for a young woman—though it was Agathe who would break things off. Despite the Second Sextet’s bright key of G Major, there is an element of moodiness here. Even the lovely melody that opens the work, sung over a disquieting ostinato in the viola, is hardly joyous. As this movement ends, Brahms salutes Agathe with a musical phrase based on her name. At its completion, he wrote to a friend, “Here I have freed myself from my last love.” And so it would be. The Sextet continues with a charming, surprisingly restrained Scherzo that contrasts with its middle trio section offering a rousing Hungarian dance. The intricate, expressive slow movement—Clara’s theme with five variations—leads to a vigorous finale that seems cathartic, if one views this work as an ode to lost love, or as an exercise in counterpoint by a young composer learning his craft. Or both. C-4
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Biographies
The Takács Quartet, now entering its 43rd season, is renowned for the vitality of its interpretations. The New York Times recently lauded the ensemble for “revealing the familiar as unfamiliar, making the most traditional of works feel radical once more,” and the Financial Times described a recent concert at Wigmore Hall: “Even in the most fiendish repertoire these players show no fear, injecting the music with a heady sense of freedom. At the same time, though, there is an uncompromising attention to detail: neither a note nor a bow-hair is out of place.” Based in Boulder at the University of Colorado, the Takács Quartet performs 80 concerts a year worldwide. In Europe during the 2017-2018 season, in addition to its four annual appearances as Associate Artists at London’s Wigmore Hall, the ensemble returns to Copenhagen, Vienna, Luxembourg, Rotterdam, the Rheingau Festival and the Edinburgh Festival. They perform twice at Carnegie Hall, presenting a new Carl Vine work commissioned for them by Musica Viva Australia, Carnegie Hall and the Seattle Commissioning Club. In 2017, the ensemble joined the summer faculty at the Music Academy of the West in Santa Barbara. They will return to New Zealand and Australia, and they will perform at Tanglewood with pianist Garrick Ohlsson, at the Aspen Festival and in more than 40 other concerts in prestigious North American venues. They will also tour with pianist pianist Marc-André Hamelin. The latest Takács recording, to be released by Hyperion in September 2017, features Dvorák’s viola quintet, Op. 97 (with Lawrence Power) and String Quartet, Op. 105. Last season, the Takács presented complete six-concert Beethoven quartet cycles in London’s Wigmore Hall, at Princeton, the University of Michigan and at UC Berkeley. Complementing these cycles, Edward Dusinberre’s book, Beethoven for a Later Age: The Journey of a String Quartet, was published in the UK by Faber and Faber and in North America by the University of Chicago Press. The book takes the reader inside the life of a string quartet, melding music history and memoir as it explores the circumstances surrounding the composition of Beethoven’s quartets. The Takács became the first string quartet to win the Wigmore Hall Medal in May 2014. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein and Dame Janet | 303-492-8008 | cupresents.org | Get Soci@cupresents |
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Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. The Takács Quartet performed Philip Roth’s Everyman program with Meryl Streep at Princeton University in 2014, and again with her at the Royal Conservatory of Music in Toronto in 2015. They first performed Everyman, conceived in close collaboration with Roth himself, at Carnegie Hall in 2007 with Philip Seymour Hoffman. The Quartet is known for such innovative programming: They have toured 14 cities with the poet Robert Pinsky; they collaborate regularly with the Hungarian Folk group Muzsikas; and in 2010 they collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last quartets. The Takács Quartet’s releases with Hyperion Records include string quartets by Haydn, Schubert, Janáček, Smetana, Debussy and Britten, as well as piano quintets by César Franck and Shostakovich (with MarcAndré Hamelin), and viola quintets by Brahms (with Lawrence Power). Future releases for Hyperion include the Dvořák disc with Lawrence Power, the Dohnányi Piano Quintets with Marc-André Hamelin, and piano quintets by Elgar and Amy Beach with Garrick Ohlsson. For their CDs on the Decca/London label, the Quartet has won three Gramophone Awards, a Grammy Award, three Japanese Record Academy Awards, Disc of the Year at the inaugural BBC Music Magazine Awards, and Ensemble Album of the Year at the Classical Brits. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder and play on instruments generously loaned to them by a family foundation. The Quartet has helped develop a string program at CU with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The Takács is a Visiting Quartet at the Guildhall School of Music and Drama, London. The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor TakácsNagy, Károly Schranz, Gabor Ormai and András Fejér, while all four were students. It first received international attention in 1977, winning First Prize and the Critics’ Prize at the International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. Violinist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in 2005. In 2001, the Takács Quartet was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary, and in March 2011 each member of the Quartet was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary. First Prize winner of the 2008 Naumburg International Violoncello Competition, David Requiro has emerged as one of today’s finest American cellists. After winning First Prize in both the Washington International and Irving M. Klein International String Competitions, he also captured a top prize at the Gaspar Cassadó International Violoncello Competition in Hachioji, Japan, coupled with the prize for the best performances of works by Cassadó. Mr. Requiro has appeared as soloist with the Tokyo Philharmonic, National Symphony Orchestra, Seattle Symphony, and numerous orchestras across North America. His Carnegie Hall debut recital at Weill Hall was followed by a critically acclaimed San Francisco Performances recital at the Herbst Theatre. Soon after making his Kennedy Center debut, Mr. Requiro also completed the cycle of Beethoven’s Sonatas for Piano and Cello at the Phillips Collection in Washington, D.C. Actively involved in contemporary music, he has collaborated with many composers, including Krzysztof Penderecki and Bright Sheng, and gave the Dutch premiere of Pierre Jalbert’s Sonata for cello and piano at the 2010 Amsterdam Cello Biennale. Mr. Requiro has performed with the Chamber Music Society of Lincoln Center, Seattle Chamber Music Society, Jupiter Symphony Chamber Players, and is a founding member of the Baumer String Quartet. The Chamber Music Society of Lincoln Center recently appointed Mr. Requiro to its prestigious CMS Two residency beginning in 2018.
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In 2015, Mr. Requiro was appointed Assistant Professor at the University of Colorado Boulder and has previously served as Artist-in-Residence at the University of Puget Sound as well as Guest Lecturer at the University of Michigan. His artist faculty appointments include the Bowdoin International Music Festival, Giverny Chamber Music Festival, Innsbrook Music Festival and Institute, Maui Classical Music Festival and Olympic Music Festival. Erika Eckert, Associate Professor of Viola at the University of Colorado Boulder and summer faculty member at Brevard Music Center in North Carolina, has also served on the faculties of The Cleveland Institute of Music and Chautauqua Institution in New York. As a member of the Eckert-McDonald Duo, she has performed recitals in Alabama, California, Colorado, Minnesota, Ohio and Tennessee. Last season, the duo performed in Cremona, Italy at the International Viola Congress and at Palazzo Tornabuoni in Florence and presented a recital and master classes at the Johann Sebastian Bach Musikschule in Vienna. The Duo has presented Colorado premieres of works by Richard Toensing, Carter Pann, Daniel Kellogg, Chen Yi, Libby Larsen and Peter Seabourne and can be heard on the Meridian Label performing Luis Jorge González‘s Sonata Elegiaca. As co-founder of the Cavani Quartet, she performed on major concert series worldwide and garnered an impressive list of awards and prizes, including first prize at the Naumburg Chamber Music Competition. In recent seasons, Ms. Eckert has performed as guest violist with the Takács Quartet, appearing with them in Canada, California, Colorado, North Carolina, Tennessee, Texas, Oregon and Vermont. She has soloed with the Music in the Mountains Purgatory Festival Orchestra, Four Seasons Chamber Orchestra, the University of Colorado Symphony Orchestra, the Boulder Bach Festival and the Boulder Chamber Orchestra. Other performing engagements include the 400th Galileo Anniversary at the American Academy in Rome, El Paso Pro Musica International Chamber Music Festival, Australian Festival of Chamber Music, Sitka Summer Music Festival and Niagara International Chamber Music Festival. Teaching engagements include the North American Viola Institute in Orford, Canada, ASTA International Workshops in Australia and Norway, Perlman Music Program and Quartet Program. Ms. Eckert also served as adjudicator for the NFAA Arts Recognition and Talent Search, the exclusive nominating agency for the Presidential Scholars in the Arts, and appeared in their Academy Award-nominated documentary, Rehearsing a Dream.
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Spotlight Faculty Tuesdays
At CU Boulder, performing arts events are so numerous that they’re practically a daily occurrence. So we’ll excuse you if you hadn’t yet heard about Faculty Tuesdays.
provide a unique mix of performance instruction for students, educational opportunities for fellow faculty members and unparalleled entertainment for music-loving local residents.
The chamber music series, which every week features Grammy winners, Pulitzer Prize finalists, internationally-published scholars and musicians who have performed with the world’s best orchestras, is the greatest recurring on-campus event you never knew existed. Between the tantalizing variety of music (flamenco guitar, bassoon chamber works and everything in between), the esteemed names on the program and the more-than-fair price of zero dollars, there’s no reason not to check out this exciting series.
This fall, the series runs the gamut, from classics by Chopin and Tchaikovsky to an evening of newer works celebrating planet Earth. On Oct. 24, the College of Music marks 100 years of Finnish independence in a concert featuring several faculty members—Jennifer Bird, Paul Erhard, Hsing-ay Hsu, Yoshi Ishikawa, David Korevaar, Margaret McDonald (piano, pictured below), Harumi Rhodes, Daniel Silver and Michael Thornton (horn, pictured below)—performing works by Jean Sibelius and other famous Finns.
“The atmosphere is terrific, with an enthusiastic audience, great community support and so many students, colleagues and friends of the college who come to these events,” says faculty pianist David Korevaar, a Juilliard graduate and award-winning Ravel scholar who appears three times this fall. “Whether listening or performing, I’m always happy to be there.” A beloved 17-year tradition, Faculty Tuesdays often pack Grusin Hall to capacity with performances by the many remarkable artists who teach at the College of Music. These weekly concerts
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“We wanted to celebrate Finland and the new cultural exchange that’s happening between the college and music institutions there,” says Daniel Kellogg, who is helping organize the recital. The concert concludes with the world premiere of “Ladun hiihan laulajille,” a piece written by graduate student composer and Finnish Jubilee Composition Scholarship winner Conor Brown. Tuesdays at 7:30 p.m. Aug. 29-Dec. 12 � Free and open to the public
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Global performance. World-class entertainment. You have to be here.
Faculty Tuesdays 7:30 p.m., Grusin Music Hall � Free and open to the public
AUGUST 29 music+synergy Rhodes/Korevaar
OCTOBER 03 Transformations Nims/Reger
Rhodes and Korevaar join forces for a program that weaves together a story of multiple voices. Get ready for a visceral experience with two consummate artists at the helm. This will be an evening not to be missed.”
Mezzo soprano Abigail Nims and pianist Jeremy Reger explore emotional transformations depicted through song: Haydn’s “Arianna a Naxos,” selected songs of Richard Strauss and Dominick Argento’s “From the Diary of Virginia Woolf.”
SEPTEMBER 05 The Quest
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Garland/Reger
Baritone Andrew Garland’s Faculty Tuesdays debut, The Quest: Don Quixote and Other Wanderers, features songs by Ralph Vaughan Williams, Franz Schubert, Gabriela Frank, Maurice Ravel, Steven Mark Kohn and Mitch Leigh.
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Guests from the Cleveland Orchestra
Renowned faculty artists perform with visiting colleagues from the Cleveland Orchestra in a virtuosic chamber music recital that is not to be missed.
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American Music Eckert/McDonald/Hill
This program of American music will feature three wonderfully varied works for viola and piano by Libby Larsen, Jennifer Higdon and Margaret Brouwer, and the world premiere of “The River Merchant’s Wife: A Letter,” for soprano, viola and piano, composed by CU Professor Emeritus Robert Spillman.
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Chopin on the Viola Walther/Korevaar
Greet autumn with the sounds of Geri and David revealing the beauties of the Chopin Sonata transcribed for viola and piano, along with the colorful and scintillating “True Divided Light” by David Carlson. Schumann’s Adagio and Allegro begins the program with a joyous start!
Musical Postcards
Thornton/McDonald/Thornton/ Tetreault/Chellis
Join Michael Thornton for a musical journey inspired by his travels. Music will be accompanied by images, creating a multisensory experience for the audience. The repertoire will represent travels to Europe, Africa and Asia with works by Schubert, Messiaen, Ewazen, Basler and more. “
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Wind Camerata
Ishikawa/Jennings/Cooper/Silver/Myer
Composers since the baroque period have utilized the delightful timbre and agility of the bassoon in chamber settings. This concert will feature monuments of wind chamber music, including a Serenade by Mozart, the Octet by Stravinsky and other unique and seldom-heard works for wind instruments.
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Finnish Celebration
Bird/Erhard/Hsu/Ishikawa/Korevaar/ McDonald/Rhodes/Silver/Thornton
Join us for a musical feast celebrating the 100th anniversary of Finnish independence! Jennifer Bird, Paul Erhard, Hsing-ay Hsu, Yoshi Ishikawa, David Korevaar, Margaret McDonald, Harumi Rhodes, Daniel Silver, Michael Thornton and the Ajax Quartet perform. The program features a world premiere by composer Conor Brown.
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Schubert and more! Wetherbee/Korevaar
Celebrate Halloween in style with Schubert, Prokofiev and more.
More info at cupresents.org
Can’t make it? Watch the online livestream at our website! 24
NOVEMBER 07 Masques and Dances!
Kellogg/Cooperstock/Hsu/Ishikawa/Nims/ Requiro/Rhodes/Silver/Spera
The evening features an eclectic collage of chamber music written by composer Daniel Kellogg. On the program are songs, quartets, guitar music and a bassoon octet. The smashing finish will feature the wild Shakespearean farce “Pyramus and Thisbe” for two pianos and one thespian.”
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ClimateKeys
Hsu/Cooperstock/Nims/Mestas
Hsu joins an international pianists’ collective during the United Nations Climate Change Conference to spotlight climate change. This adventurous program celebrates our planet with diverse aesthetics and a little audience participation, ending with Scriabin’s fiery “Vers La Flamme.” The program also features Messiaen, Debussy and Ravel.
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Signs Games+Messages Rhodes/Walther/Requiro/Korevaar
Dive into the sound world of György Kurtág with Rhodes, Walther and Requiro’s dramatization of reordered thoughts and fragmented symbolism. Korevaar joins with eloquence and irresistible charm in quartets by Fauré and Dvořák. It’s the ideal recipe for an enjoyable evening, equal parts thought and play.
DECEMBER 05 Legacies Hayghe/Rhodes/Requiro
No artist is created without the influence of his or her teachers and mentors. Jennifer Hayghe shares some of her personal musical legacies, and Harumi Rhodes and David Requiro join her in a performance of Tchaikovsky’s “Trio,” the composer’s own monumental tribute to his mentor and friend.
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Two Pianos +
Nguyen/Lin/Hayghe/Thornton/Requiro/ Weiss/Tetreault/Kenzie
Two pianos, plus... three pianists, two cellists, two percussionists and a horn player! This program will feature works for two pianos in combination with other instruments, including Schumann’s unusual Andante and Variations, as well as Bartók’s formidable Sonata for Two Pianos and Percussion.
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Artist Series
The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide world-class performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.
ARTIST SERIES ADVISORY BOARD Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan
John Davis Diane Dunn Mike Gallucci
Lissy Garrison Laima Haley Daryl James, President
BENEFACTOR
Maryan K. Jaross Ruth Kahn Andrew Metzroth
SUPPORTER
Paul Bechtner Foundation Mary Lamy Greg Silvus
Mike and Carol Gallucci Heidi and Charles Lynch Janet and Scott Martin Bob and Sandy McCalmon Judy and Alan Megibow Cedric Reverand Mikhy and Mike Ritter Alicia and Juan Rodriguez Karmen Rossi and Eric Lewis Douglas and Avlona Taylor Evelyn Taylor Ann and Larry Thomas Ann and Gary Yost
SPONSOR
Gil and Nancy Berman Diane and Dick Dunn Louise Pearson and Grant Couch Lisa and Tom Price Ellen and Joshua Taxman
PATRON
CONTRIBUTOR
Anonymous Janet Ackermann and Scott Wiesner Joan McLean Braun Ruth Carmel Kahn Center Copy Boulder, Inc. Chris and Barbara Christoffersen Maggie and John McKune Toni and Douglas Shaller
Ellen and Dean Boal Noel and Pauline Clark Norma Ekstrand and Tom Campbell Tara Kelly Ranelle Lang and Robert Hammond Joan and Harold Leinbach Doyen and James Mitchell Elizabeth and Gary Rauch Theodore and Ruth Smith Evie Verderber
Jerry Orten Erika Randall Robert Shay
MEMBER
Maria and Jesse Aweida Shirley Carnahan Cathy Cloutier Lissy Garrison Merrill and Leslie Glustrom John Graham and Lorin Lear Heather Van Dusen David and Jo Hill Pam Leland Gail and Thomas Madden Paul and Kay McCormick Janet and Hunter McDaniel Gail and Julie Mock Jacqueline Muller Barbara and Irwin Neulight Nancy and David Parker Becky Roser and Ron Stewart Randall Rutsch Zoe Stivers Lloyd Timblin Allan and Marta Wolfe
CORPORATE SPONSORS
IN-KIND SPONSORS
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Gregory Silvus Ellen Taxman Ann Yost
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Takács Society
The Takács Society, formed by the College of Music, provides the critical resources to support the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attract and retain exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.
BENEFACTOR
Albert and Nancy Boggess Norma Johnson in memory of Fay Shwayder Gary and Judith Judd in memory of Fay Shwayder In loving memory of Norma Johnson, a longtime beloved supporter of the Takács Quartet Peg and Chuck Rowe
SPONSOR
Marda Buchholz PJ Decker and B.A. Saperstein Carol Lena Kovner Lisa and Thomas Price David and Janet Robertson Takács String Quartet Marion Thurnauer and Alexander Trifunac
PATRON
CONTRIBUTOR
Virginia and Stanley Boucher Pamela and Stanley Brown Noel A. and Pauline A. Clark Alison Craig and Stephen Trainor Richard and JoAnn Crandall Carolyn and Don Etter Steve Goldhaber and Mariana Vertenstein Liz and Jon Hinebauch Joan and Harold Leinbach Patricia and Robert Lisensky Lise Menn Antonia and Timothy Piwonka-Corle M. L. Sandos Lori and Bob Schuyler Helen Stone Berkley Tague Patricia Thompson
MEMBER
Thomas and Carol Cech Chris and Barbara Christoffersen L. Frear Eileen and Walter Kintsch Ray LaPanse Kathleen Sullivan John and Carson Taylor
Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Barbara and Carl Diehl Robbie Dunlap Bob and Jean Fischer Mary and Lloyd Gelman Kenneth and Dianne Hackett David Hammer Catharine and Richard E. Harris Katherine and Stuart Haskins Ruthanne and John Hibbs Marian and William Hoffman Bruce and Kyongguen Johnson Margaret and Bob Kamper Caryl and David Kassoy Mireille Key Elizabeth Knoelker Keith Kohnen Heidi and Jerry Lynch Gail and Thomas Madden
SUPPORTER
Bill and Louise Bradley Christopher and Margot Brauchli Patricia Butler Gerald and Doree Hickman Kaye Howe Robert Kehoe Paul and Nancy Levitt Jane Menken and Richard Jessor Virginia M. Newton Neil and Martha Palmer Anita and Arthur Polner Mikhy and Mike Ritter Susan and David Seitz Anthony and Randi Stroh Lawrence and Ann Thomas
Caroline Malde Professor John McKim Malville and Nancy Malville Ralph and Nancy Mann Kim Matthews Peter and Doris McManamon Christopher B. Mueller Joan and Ronald Nordgren Margaret Oakes Wayne and Julie Phillips Richard Replin and Elissa Stein Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal Ruth M. Shanberge Trust Todd and Gretchen Sliker Grietje Sloan Carol and Arthur Smoot Janice and Charles Squier Arthur and Laurie Travers Leanne and Christopher Walther Barbara Warner Betty Van Zandt
Make all gifts payable to the University of Colorado Foundation and mail to: Takács Society CU College of Music, 301 UCB Boulder, CO 80309-0301 For credit card payments, questions or additional information, call the College of Music Development Office at 303-735-6070.
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Friends of Eklund Opera The Eklund Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize Eklund Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting Eklund Opera, please contact our Development Office at 303-735-6070.
BENEFACTOR
CONTRIBUTOR
The Academy Charitable Foundation, Inc. David Allen and Carol DeBaca Stephen Dilts Robert Stuart Graham The Louis and Harold Price Foundation
Judy and Jim Bowers Marilyn and Bruce Fredrickson Ellen and John Gille Bob and Mikee Kapelke Joan and Harold Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Ann and Dave Phillips Cynthia and Dave Rosengren M. L. Sandos Cynthia and Paul Schauer Theodore and Ruth Smith Helen Stone Ann and Larry Thomas Ken and Ruth Wright in memory of Mayme Lacy
PATRON
Ann Cairns and Larry Bangs Barbara and Chris Christoffersen Mary and Lloyd Gelman John Hedderich Albert and Betsy Hand Toni and Douglas Shaller Al and Marty Stormo Wright Family Foundation
SUPPORTER
Donald and Beverly Eklund* Jack Finlaw and Gregory Movesian Kelton Family Foundation* Dennis Peterson Mikhy and Mike Ritter William Stark
MEMBER
Judith Auer and George Lawrence Heather and Brian Byrne* Xan and John Fischer Lissy Garrison* Janet Hanley Patricia and Robert Lisensky Megan Marino Marian Matheson Cathy and Byron McCalmon Corinne McKay Margaret Oakes Robert and Marilyn Peltzer Kim and Rich Plumridge Alicia and Juan Rodriguez Becky Roser and Ron Stewart Ruth Schoening Carol and Arthur Smoot Walter Taylor Gretchen Vanderwerf and Gordon Jones Peter Wall Ann and Gary Yost
*Gifts given in honor of Paul Eklund and Kristina Cizmar’s marriage—wishing you many years of happiness!
THE EKLUND OPERA PROGRAM
Recognizing the importance of the arts and live vocal performance in an increasingly distracted world, longtime Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU Boulder College of Music. Funding from the endowment helps support three opera productions each academic year, the CU New Opera Workshop and an opera scenes program for new students.
From left: Paul Eklund; Leigh Holman, Director of Opera; Robert Shay, College of Music Dean
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Personnel Joan McLean Braun Laima Haley Andrew Metzroth Jessie Bauters Daniel Leonard Jill Kimball Sabrina Green Analise Iwanski Noelle Limbird Joshua Aguilar-Wynn Kelsey Kinzer Jack Dorfman Madi Smith Jack Barsch Elise Campbell Michael Casey Indigo Fischer Adrienne Havelka Megan Ogden Megan Quilliam Curtis Sellers Karen Van Acker Christin Woolley Michael Johnston Jeni Webster Kevin Harbison
Executive Director Marketing and PR Director Operations Director Associate Director of Communications Marketing Manager Public Relations Manager Publications Specialist Graphic Design Assistant Marketing and PR Coordinator Publications and Administrative Assistant Social Media Content Creator Video Producer Video Producer Website Editor Box Office Manager Box Office Services Manager Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Financial Manager Membership Benefits Coordinator Recording Engineer
MACKY AUDITORIUM Rudy Betancourt Matthew Arrington Sara Krumwiede JP Osnes Rojana Savoye Devin Hegger
Director Assistant Director for Patron Services Assistant Director Assistant Director for Production House Manager Assistant House Manager
EDITORIAL TEAM Jill Kimball Sabrina Green
Robert Shay James Austin
Joan McLean Braun Steven Bruns John Davis Lissy Garrison Alexander George David Mallett
Dean Associate Dean for Enrollment Management and Undergraduate Studies Assistant Dean for Concerts and Communications Associate Dean for Graduate Studies Associate Dean for Faculty Affairs and Operations Assistant Dean for Advancement Executive Assistant to the Dean Assistant Dean for Budget and Finance
COLLEGE OF MUSIC ADVISORY BOARD Mikhy Ritter, Chair Sue Baer Jim Bailey Christopher Brauchli Bob Bunting Jan Burton Bob Charles Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman Doree Hickman
Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Kathy Kucsan Erma Mantey Ben Nelson Joe Negler Susan Olenwine Tom Price Becky Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker
Program Editor Program Design/Layout
Patron Info Accessibility and Parking
Macky Auditorium is fully wheelchair accessible; ADA-accessible parking is available nearby. Please call the Box Office as early as possible to make arrangements. Paid parking is available in the Euclid Avenue autopark, Lot 310 and Lot 204. Contact the Box Office, or check the CU Presents website for more information.
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Photography and video recordings Ticket Sales are final; no refunds. of any type are strictly prohibited during the performance.
Food is permitted in the seating areas of Macky Auditorium but is prohibited in other campus venues unless otherwise noted. Smoking is not permitted anywhere. CU Boulder is a smoke-free campus!
Exchanges are subject to availability and must be made at least one business day prior to the day of performance. Subscribers may exchange tickets for free. Single-ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases. Please return your tickets to the Box Office prior to the performance if you are unable to use them.
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