CU Presents Magazine Takács Quartet Holiday 2016, Oct. 30-31, 2016

Global performance. World-class entertainment. You have to be here.

2016-2017 Season

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Contents

With US

The Holidays at Macky ........................6 Calendar ..............................................8 Takács Quartet ..................................12 The Manhattan Transfer & Take 6 .........18 College of Music at Carnegie Hall ........22 College of Music Strategic Plan.........24 Faculty Tuesdays ...............................30 Artist Series donors ...........................32 Takács Quartet donors .....................34 Eklund Opera donors .......................36 Personnel lists ..................................38

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Celebrate the holidays at Macky For decades, Front Range locals have known there’s no better destination for holiday merriment than Macky Auditorium.

Luckily for revelers, this year’s festive season brings even more merriment than usual.

“Heartfelt” is just as apt a word for the Holiday Festival, an end-of-semester bash that shines a spotlight on the immensely talented faculty and students at CU Boulder’s College of Music. As usual, the festival will feature performances from CU’s choirs, jazz bands, vocal jazz ensembles, the Wind Symphony, the University Symphony Orchestra and select faculty members.

Along with CU Presents’ annual Holiday Festival, a Boulder favorite for more than three decades, audiences also have a chance to attend a second seasonal event at Macky Auditorium featuring the Ukulele Orchestra of Great Britain.

Gregory Gentry, CU Boulder’s director of choral studies, says audiences can expect the return of a few wellloved pieces and the arrival of some new surprises, such as a visit from a swingy, Andrews Sisters-like trio and other seasonal guests.

The octet of singing, strumming players from across the pond visits Boulder on Thursday, Dec. 8 for a funny, virtuosic, twanging, foot-stomping evening of classic carols and new holiday favorites. The orchestra regularly performs for sold-out crowds across the world and has gathered a cultish following thanks to its wildly popular covers of “Smells Like Teen Spirit” and “Psycho Killer.”

“The African holiday song Betelehemu, a longtime favorite, and music from John Williams’ score to Home Alone are also in the mix,” Gentry adds.

80 Anniversary th

Even more extraordinary, they’re loved by patrons and critics alike. The New York Times marvels at the orchestra’s ability to “extract more than seems humanly possible from so small and so modest an instrument.” And London’s Financial Times claims that “the sophisticated sound they make—both percussive and melodic—is at once hilarious and heartfelt.”

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Can’t make it to Macky? Denverites who enjoy holiday music with a jazzy twist can also attend a free performance of Duke Ellington’s “Nutcracker Suite” at Capitol Hill’s Dazzle Restaurant and Lounge on Tuesday, Dec. 6 at 7 p.m. Esteemed faculty members in the College of Music’s Thompson Jazz Studies Program join student performers.

Holiday Festival: Dec. 2-4 | tickets start at $20 Ukulele Orchestra of Great Britain: Dec. 8, 7:30 p.m. | tickets start at $20

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2016-17 Season

80th Anniversary

Manhattan Transfer and Take 6 The Summit

Deborah Voigt Voigt Lessons

Ukulele Orchestra of Great Britain Christmas Concert

Yo-Yo Ma

Flamenco Vivo Carlota Santana Poema de Andalucía Transport yourself to romantic southern Spain with an “infectiously joyful” (The New York Times) demonstration of authentic Spanish dance. This energetic performance combines sensual movement, colorful costumes and irresistible Andalusian folk music.

Saturday, Jan. 21, 2017, 7:30 p.m.

Danú The World’s Greatest St. Patrick's Day Celebration Danú brings together virtuosi players on flute, tin whistle, fiddle, accordion, vocals and more for a high-energy performance of ancient Irish music and new repertoire. This fan favorite returns to Boulder for an unforgettable St. Patrick’s Day concert.

Saturday, March 4 2017, 7:30 p.m.

The Nile Project

James Galway

Spend an unforgettable evening grooving to innovative arrangements of jazz, pop, swing, gospel and R&B songs sung in impeccable harmony. With 20 Grammy Awards between them, the Manhattan Transfer and Take 6 are two of the most legendary groups in a cappella history.

Friday, Nov. 11, 2016, 7:30 p.m.

Celebrate the holiday season with an octet of singing, strumming players from across the pond! The Ukulele Orchestra of Great Britain delivers a funny, virtuosic, twanging, foot-stomping evening of classic carols and new favorites.

Thursday, Dec. 8, 2016, 7:30 p.m.

Take in vibrant, joyful and original music combining the traditions of 11 countries up and down Africa’s diverse Nile River basin. This “committed, euphoric international coalition” (The New York Times) of performers transcends language and cultural barriers to unite in harmony.

Thursday, Feb. 2, 2017, 7:30 p.m.

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Experience the moving story of a world-renowned soprano’s successes and struggles in a performance that’s part recital and part one-woman show.

Saturday, Feb. 18, 2017, 7:30 p.m.

The world’s greatest living cellist gives a once-in-a-lifetime solo recital on the Artist Series. From his partnership with the Silk Road Ensemble to his cross-disciplinary collaborations, Yo-Yo Ma is the only musician who can travel seamlessly between genres and cultures.

Wednesday, Feb. 22, 2017, 7:30 p.m.

“The Man with the Golden Flute” pays a visit to Boulder for a mesmerizing, genre-defying performance. Between his classical credits, his star-studded collaborations and his iconic recordings for “The Lord of the Rings” films, Sir James Galway is the premier flutist of our time.

Wednesday, March 22, 2017, 7:30 p.m.

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The Grammy Award-winning chamber 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."

Sunday, Oct. 30, 2016, 4 p.m.

Monday, Oct. 31, 2016, 7:30 p.m.

Sunday, Feb. 19, 2017, 4 p.m.

Monday, Feb. 20, 2017, 7:30 p.m.

Sunday, March 19, 2017, 4 p.m.

Monday, March 20, 2017, 7:30 p.m.

Sunday, April 30, 2017, 4 p.m.

Monday, May 1, 2017, 7:30 p.m.

Red Hot and Cole Red Hot & Cole celebrates Cole Porter, the great American songwriter who brought style, elegance and sophistication to Broadway and Hollywood, delighting the world with clever rhymes, fresh melodies and a sassy, sexy sensibility.

The Magic Flute Like a fantasy adventure film come to life, Mozart's The Magic Flute blends together whimsical humor and irresistible melodies to tell the gripping story of a prince who must outwit an evil queen to be united with his true love.

April 27-30, 2017

March 17-19, 2017

Twelfth Night Opens Nov. 4

By William Shakespeare A story of mistaken identities and love at first sight, “Twelfth Night” is the original romantic comedy. CU Boulder’s production, featuring an all-female cast, shines a new light on Shakespeare’s timeless words.

Coming Soon

Second Annual New Play Festival Opens November 30 World Premiere

Unspoken Opens February 15 Peter and the Starcatcher

By Rick Elice Opens Apr. 14

The Rocky Horror Show by Carlo Richard O'Brien Opens March 3 The Rocky Horror Show is an outrageous mashup of campy science fiction, Marvel-inspired characters, 1960s beach party jams and rock ’n’ roll music of every vintage. When a newly engaged couple gets caught in a storm and meets the tan, muscular new creation of mad transvestite scientist Frank N. Furter, their world is forever changed. First premiered at a small experimental theatre in London more than 40 years ago, “The Rocky Horror Show” is now a worldwide stage hit.

Plus much more! colorado.edu/theatredance/events

Open Space (Dance Series) Opens Nov. 11 In this student-produced and CU Dance Connection-curated series, dance works span a spectrum of styles, inviting and challenging viewers with exciting experimentations.

The Current

(Dance Series) Faculty and guest artists present innovative dance works that reflect the rich diversity of CU Boulder’s Dance Division. From transnational fusion to experimental dance theatre, Hip-Hop to aerial dance, audiences will experience the depth and dimension of the program’s offerings.

Celebrate the 60th Season of the Colorado Shakespeare Festival!

2017 Lineup:

The Taming of the Shrew Hamlet Julius Ceasar Rosencrantz & Guildenstern are Dead 60th Season

coloradoshakes.org

by Tom Stoppard

Henry VI, Part 3

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The Colorado Shakespeare Festival is a professional theatre company in association with the University of Colorado Boulder. Since 1958, the festival has celebrated and explored Shakespeare and his continuing influence and vitality through productions of superior artistic quality, education and community engagement.

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For Takács Quartet, Beethoven Beckons

The University of Colorado Boulder’s famously loyal Takács Quartet fans can expect to hear a whole lot of Ludwig van Beethoven this season.

CU Boulder’s longtime quartet-in-residence is gearing up for a season of Beethoven’s entire string quartet canon to coincide with the recent release of violinist Edward Dusinberre’s book, Beethoven for a Later Age: Living with the String Quartets. They’ll perform some of the pieces in Boulder and others in a handful of major international cities.

“It was just time to perform the cycle again,” says Takács Quartet founder and cellist András Fejér. “It’s always nice to re-immerse yourself in these gorgeous pieces.

Thinking about Ed’s book while playing will be the cherry on top.”

The Grammy-winning group, often considered one of the finest chamber ensembles in the world, is no stranger to the composer whose unique sound famously bridged the classical and romantic periods. A decade ago, the Takács released a recording of Beethoven’s complete string quartets to unanimous critical acclaim. The New Yorker’s Alex Ross called it “the most richly expressive modern account of this titanic cycle.”

For Fejér, there’s no composer whose music is more moving and endlessly fascinating than Beethoven’s, so it’s no wonder that the quartet returns to his work again and again.

“The breadth and the scope of the pieces, starting from his early quartets and finishing with the quartets written after his Ninth Symphony … the emotions, the passion, the way he turns the classical structure on its head … the way he builds themes … it’s all incredible,” Fejér says. “The combination of all these factors makes the Beethoven string quartets some of the most difficult pieces to perform, digest, analyze and synthesize.”

When the quartet isn’t tackling Ludwig in the 201617 concert season, they’ll be partnering up with CU Boulder’s many talented, award-winning faculty musicians for pieces both familiar and new to them, including Dohnányi’s Piano Quintet, Schubert’s “Trout” Quintet and selected songs by Brahms.

“Every piece we play with our colleagues is exciting because we don’t have the opportunity to play it too many times,” Fejér says. “It’s wonderful to have an outside influence and outside energy taking us places where we wouldn’t normally go as a quartet.”

Through May 1, 2017 | Tickets start at $36

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December 10, 11, 17, 18 Performing Arts Complex at PCS 1001 W. 84th Avenue | Denver, Colorado 80260

With international guest stars Adiarys Almeida and Joseph Gatti

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Sponsor

Concerts are at Macky Auditorium and Pinnacle PAC in N. Denver

2016 -17 SEASON

MOZART & BEETHOVEN Sun., Nov. 6, 2 PM at Pinnacle PAC Sun., Nov. 6, 7 PM at Macky Edward Dusinberre, violin Geraldine Walther, viola Works by Mozart, Adès & Beethoven THE NUTCRACKER BALLET Nov. 25 & 27 at Macky A holiday tradition for all ages!

A WICKED GOOD CHRISTMAS Sat., Dec. 10, 7:30 PM at Macky Holiday faves & music from Wicked BRAHMS & HIS WORLD Sat., Jan. 14, 7:30 PM at Macky Sun., Jan. 15, 2 PM at Pinnacle PAC SMYTH Concerto for Violin & Horn Works by Brahms & Schumann

NATURE & MUSIC Sat., Mar. 25, 7:30 PM at Macky Tue., Mar. 28, 8 PM at Kennedy Center, Washington, DC Copland’s Appalachian Spring with Frequent Flyers Aerial Dance ®

THE PINES OF ROME Sat., Apr. 22, 7:30 PM at Macky GOSS Invisible Cities: Double Concerto Charles Wetherbee, JAKE SHIMABUKURO, violin; Nicolò Spera, UKULELE w/ the Boulder Phil guitar Sat., Feb. 4, 7:30 PM Respighi’s The Pines Of Rome at Macky

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Ein Kind geborn zu Bethlehem

Music of Praetorius December 9

Dark Horse Consort

December 10 and 11

Seicento & Dark Horse Consort

Traditional carols with historical brass instruments including sackbuts and cornettos

HANDEL’S

Dixit Dominus Glorious choral music of the late baroque

March 24, 25 and 26 TICKETS: $25 adults, $20 seniors, $10 students TICKETS AND CONCERT DETAILS AT

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An a cappella extravaganza 80th Anniversary

One group single-handedly brought vocal jazz to the masses. The other’s smooth R&B hits inspired a new generation of a cappella mania, from The Sing Off to Glee to Smash.

Now that they’ve teamed up, there’s nothing they can’t conquer.

For the first time ever, The Manhattan Transfer and Take 6, two of the most respected singing groups in the world, have joined forces for a worldwide performance tour and recording project … and Boulder audiences have a chance to hear them at Macky Auditorium on Friday, Nov. 11.

Jazz fans will rejoice to hear the newly reformed Manhattan Transfer singing again with a brand new bass. Founded in 1975 by the late Tim Hauser, the vocal quartet began performing in small New York jazz clubs and quickly rose to become a major recording act and “one of the slickest groups in today’s market” (The New York Times). Many still consider their iconic renditions of “Operator,” “Route 66” and “A Nightingale Sang in Berkeley Square” to be the pinnacle of vocal jazz.

Take 6, the most awarded ensemble in vocal history, appeals to soul, R&B and spiritual music fans alike.

Since the release of their 1988 breakout single “Spread

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Love,” the group has been inseparable and its fans legendarily loyal. And it’s no mystery why: After a 2013 concert, The New York Times declared, “this group still does some things that no one else in its field can touch.” The ensemble’s six members effortlessly move together as one through the complex harmonies and cleverly syncopated rhythms of their own pop arrangements and original songs.

With 20 Grammy awards between them, worldwide sales in the millions and a comfortable familiarity with sold-out tours, it’ll come as no surprise to learn that their double act has already been widely hailed. Having heard the ten singers together, Basketball Hall of Famer Kareem Abdul-Jabbar proclaims “they must be heard to be believed.

“Take 6 and The Manhattan Transfer have combined their talents to create an evening of incredible joy, and they do it without forgetting to swing,” he says.

The journalist Michael Bourne adds, “The Manhattan Transfer and Take 6 together … you could hear such profound and delightful artistry. You could feel how much fun they were having. I can’t think of enough superlatives. How about WOW X 10!”

Friday, Nov. 11, 7:30 p.m. in Macky Auditorium | tickets start at $20

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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.

JOIN US FOR SUNDAY WORSHIP AT 10:30 AM

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TA K Á C S Q U A R T E T — O c t o b e r 3 0 - 3 1 , 2 0 1 6

Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello

Program String Quartet in F major (1903)

Allegro moderato – Très doux

Assez vif – Très rythmé

Très lent

Vif et agité

Maurice Ravel (1875-1937)

On Wenlock Edge (1909) Ralph Vaughan Williams

for tenor, piano and string quartet

(1872-1958)

On Wenlock Edge

From Far, from Eve and Morning

Is My Team Ploughing?

Oh, When I Was in Love with You

Bredon Hill Clun Matthew Chellis, tenor; Andrew Cooperstock, piano Intermission Piano Quintet no. 1 in C minor, Op. 1 (1895) Ernö Dohnányi

Allegro (1877-1960)

Scherzo: Allegro vivace – Trio –Reprise

Adagio, quasi andante

Finale: Allegro animato – Allegro Nicholas Carthy, piano

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C-1

Program Notes By Marc Shulgold

TA K Á C S Q U A R T E T — O c t o b e r 3 0 - 3 1 , 2 0 1 6

String Quartet in F

In July of 1900, young Maurice Ravel got into trouble – again. He’d already been expelled from the Paris Conservatoire, but this second time it was pretty much for good. Seems the ruling board showed him the door when the rebellious student failed to demonstrate the ability to write an academic fugue.

Undaunted, Ravel sneaked back as an auditor in the composition class of his teacher/hero, Gabriel Fauré.

For the next three years, he studied – mostly privately – with the beloved composer, who recognized the talent in his protegé. Gratefully, Ravel dedicated two early works to Fauré in 1903, the piano piece Jeux d’eau and the String Quartet in F, written in hopes of winning the prestigious Prix de Rome. Alas, Ravel’s piece baffled the judges, and didn’t even make the finals (interestingly, even Fauré called it a failure). The Quartet nonetheless enjoyed early success with the Parisians, who were stunned that it had been pushed aside by the jury. There was much discussion then, as now, comparing the Ravel with the String Quartet penned by Debussy 10 years earlier. One critic, commenting on the new work after its premiere in 1904, noted that it “offers an incredible resemblance with the music of M. Debussy.” A casual listen to both might suggest similarities – it’s no surprise that both Quartets are endlessly paired in recordings. Debussy expressed approval of the Quartet (instructing Ravel to “not touch a single note”), but the public’s endless chatter comparing the two eventually caused a rift between the composers. It’s too easy to lump the term “Impressionism” on both works, because it ignores the subtle differences between the two. In the Ravel, as in the Debussy, we hear ideas that are firmly rooted in classical structure, particularly in the

On Wenlock Edge

traditional sonata form easily followed in the Ravel’s opening Allegro. Just as his forbears had done (and how he’d been taught in the Conservatoire), the young composer presents two contrasting themes, the second neatly introduced in unison by violin and viola. These two ideas will reappear in the movements that follow. Debussy’s Quartet, on the other hand, retains this cyclical concept, but relies solely on the work’s short, opening motif. Ravel characterized the two Quartets thusly: “...my String Quartet was conceived in terms of four-part counterpoint, whereas Debussy’s Quartet is purely harmonic in conception.”

Though it can hardly be labeled a “student work,” this piece displays Ravel’s lifelong respect for the music of Haydn, Mozart and Beethoven. “My objective,” he said early on, “is technical perfection.” The care given the succeeding three movements shows his extreme attention to detail and organization. There’s so much here that is strikingly original. Observe the effective use of pizzicatos, noticeably, of course, in the second movement, marked Assez vif (the same designation Debussy gave his Quartet’s second movement). What follows next is dreamy, transparent music, marked Très lent (very slow and sad) – watch how Ravel makes repeated use of mutes at brief, crucial times.

The composer’s bold reliance on contrasting rhythms in the finale (Vif et agité – fast and agitated) caused perplexed looks among the Quartet’s early listeners, who perhaps weren’t prepared for those alternating three- and five-beat meters. But then, as if to respect his audience and pay homage to earlier masters of the String Quartet, Ravel serves up an exciting, almost traditional ending.

Ralph Vaughan Williams

For three months in 1908, Vaughan Williams spent time in Paris, studying with Ravel – gaining “a little French polish,” as he put it. The experience made a nice impression, if you’ll forgive the pun. Not that his music would suddenly turn all Frenchy, but in works such as the song cycle On Wenlock Edge, written around the time of his Paris studies and completed in 1909, one can hear a new, fragrant sound sliding comfortably into Vaughan Williams’ continuing evolution as a composer. That influence is clearly heard in these six songs – for starters, in the instrumentation. The usual singer-with-piano format is here augmented by a string quartet, a rare combination. The impact of this unique approach is instantly felt, as a swirl of notes from the piano quintet supports a vivid description of the wind-swept Wenlock Edge – a musical effect not that far removed from French Impressionism. As to the source material, Vaughan Williams became one of several English composers who were inspired to set some of the 63 evocative C-2

Maurice Ravel

poems of A Shropshire Lad, published in 1896 by A.E. Housman (1859-1936). And who could blame them? With their specific geographic references and touching character studies, Housman’s very English verses also maintained a consistent, almost singable pulse – all of which simply begged for musical treatment. Just as contemporary song-writers utilize strict rhyming schemes, such is the case in each of the six poems chosen by Vaughan Williams (for example, ABAB is the scheme in the first, fourth and sixth songs). Beyond their symmetry, the poems conjure scenes and stories that are dramatic, deeply sad, briefly amusing and, in the end, rich in visual imagery.

The opening poem focuses on an unusual geologic feature in Shropshire (a county on the west side of England). Wenlock Edge is a 16-mile-long limestone slope that supports a thriving forest continually swept by blustery winds. The poem’s narrator also mentions the Wrecken (REE-ken), a large hill five miles north, as well as the ancient city of Uriconium (here, Uricon)

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built by the occupying Romans and now buried a few miles from the Wrecken. Those same winds felt long ago by a Roman soldier, we’re told, are now felt by an Englishman (“Then ‘twas the Roman, now ‘tis I”).

The remaining poems deal with the quiet beauty of

nature, as well as the joys and sorrows of love and life, the latter most poignantly in Is My Team Ploughing and Bredon Hill, each expressing with quiet, personal mourning the tragedy of early, unexpected death.

Piano Quintet No. 1 in C minor, Opus 1

Century Austria and Germany (for further proof, notice the Germanic “von” he inserted into his name; he was born Dohnányi Ernő). This Opus 1 turned out to be the start of a long, busy, successful musical career.

As a composer, he produced operas, choral works, two concertos, numerous chamber and solo piano pieces – his most famous and popular composition being the piano-and-orchestra Variations on a Nursery Song (the tune being Twinkle Twinkle Little Star). As a teacher and conductor, he held numerous posts in Europe, serving as music director of the Budapest Philharmonic for 25 years. After losing both his sons in World War II, Dohnányi moved to the United States, where, in 1949, he began a long tenure teaching at Florida State. (He is no relation to the prominent conductor Christoph von Dohnányi.) The Opus 1 Piano Quintet shows a maturity beyond the composer’s 18 years, opening with a stern Allegro built on two contrasting themes. The following Scherzo, shies away from the obvious temptation of offering a Hungarian dance, instead seeming to pay homage to the chamber works of Brahms, particularly in the piano part. A soulful Adagio, its principle melody first sung by the cello, leads to a frisky final movement in C major. Perhaps to impress his teachers at the Budapest Academy, Dohnányi tosses in a brief fugue and, near the end, introduces a reprise of the work’s opening theme, (now in the major) before launching into a grand and confident coda.

The College of Music Advisory Board list should include chair Mikhy Ritter and members Sue Baer, Kathy Kucsan, Tom Price, and Becky Roser. The College of Music Dean’s Cabinet should also include Brice Johnson, Senior Director and HR Strategic Partner, and David Mallett, Senior Director of Budget and Finance. | 303-492-8008 | cupresents.org | Get Soci@cupresents |

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We all have to start somewhere, and for composers, life begins with Opus 1. And so it was with the Hungarianborn Ernst von Dohnányi. But then, it should come as no surprise that his first published work, the C-minor Piano Quintet, completed when he was all of 18, wasn’t his very first attempt at writing music. Every composer goes through a process of preliminaries before gaining the confidence and technique to submit a debut piece for publication. Several earlier chamber works emerged during his studies at the Budapest Music Academy, where, luckily, his piano and composition professors all carried rich pedigrees. Perhaps for that reason, Dohnányi’s Opus 1 was presented to Johannes Brahms, who remarked, “I couldn’t have written it better myself.” This wasn’t a throw-away compliment: Soon after the work’s 1895 premiere in Budapest, Brahms arranged for a performance in Vienna, where he served as pianist. Listening to the C-minor Quintet, it’s easy to understand why the elderly composer was impressed: The music is heavily Brahmsian. Not to slight Brahms’ praise, but in later years, he consistently voiced approval of other composers’ works that resembled his own. Unlike Dohnányi’s contemporary countrymen, Bartók and Kodaly, the youthful composer was not enthusiastic about incorporating the folk music of his native land. (Technically, Dohnányi was born in what is now Bratislava, Slovakia’s capital.) Instead, he was heavily influenced by the classical traditions of late-19th

Ernst von Dohnányi

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The Takács Quartet, now entering its fortysecond 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 the 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” During the 2016-2017 season, the ensemble will perform complete 6-concert Beethoven quartet cycles in London’s Wigmore Hall, at Princeton, the University of Michigan, and at UC Berkeley. European engagements in 2016-17 include Florence, Milan, Geneva, Amsterdam, and Paris. They will present concerts in Singapore, Japan and Hong Kong and will also tour New Zealand and Australia..

The Takács became the first string quartet to win the Wigmore Hall Medal in May, 2014. The Medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall.

Appointed in 2012 as the first-ever Associate Artists at Wigmore, the Takács present six concerts every season there. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London.

In 2006 the Takács Quartet made their first recording for Hyperion Records, of Schubert’s D804 and D810.

Since then they have earned two Grammy nominations

The Takács Quartet

and recorded works by Brahms, Schumann, Haydn, Schubert, Shostakovich, Britten and Janacek. Their most recent release is of the Debussy Quartet and the Franck Piano Quintet, with Marc-Andre Hamelin.

The Quartet’s award-winning recordings include the complete Beethoven Cycle on the Decca label. In 2005 the Late Beethoven Quartets won Disc of the Year and Chamber Award from BBC Music Magazine, a Gramophone Award, Album of the Year at the Brit Awards and a Japanese Record Academy Award.

Their recordings of the early and middle Beethoven quartets collected a Grammy, another Gramophone Award, a Chamber Music of America Award and two further awards from the Japanese Recording Academy.

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 the Shwayder Foundation.

Visit us on Facebook at www.facebook.com/ Takácsquartet.

Matthew Chellis is considered one of America’s most versatile singing actors. He has appeared with opera companies, orchestras and theatre companies in North and South America and Europe. Chellis has sung over twenty principal roles with New York City Opera and sung with Washington National Opera, Frankfurt Opera, Atlanta Opera, Opera Bogata and Calgary Opera, to name a few. Concert performances include numerous appearances at the Kennedy Center, Carnegie Hall, Avery Fisher Hall and Boston Symphony Hall. Chellis has taught at New York University and Roosevelt University’s Chicago College of Performing Arts prior to his appointment at CU Boulder. He is the founder and executive director of the Up North Vocal Institute, an intensive four week vocal training program located in northern Michigan. Please visit MatthewChellis.com for a full vitae.

Pianist Andrew Cooperstock performs widely as soloist and chamber musician and has appeared throughout six continents and in most of the fifty states, including performances at New York’s Alice Tully, Merkin and Carnegie halls, Broadway’s 54 Below, Greenwich Village’s (le) Poisson Rouge, Brooklyn’s BargeMusic and at the United Nations. He has been featured in recitals and concerto appearances at the Chautauqua, Brevard, and Round Top international music festivals, the Australian Festival of Chamber Music, Hong Kong’s Hell Hot! New Music Festival and in London, Beijing, Accra, Kiev, Sapporo, Canberra, Lima and Geneva, on National Public Radio, Radio France and the BBC. A sought-after chamber musician, Cooperstock has performed with the Takács Quartet, the Ying Quartet, the Dorian Quintet, violinist James Buswell, violist Roberto Diaz, cellists Andres Diaz and András Fejér, hornist Eli Epstein and pianist Paul Schoenfield. He is a member of the Colorado Chamber Players, a regular soloist with the Boulder Chamber Orchestra and a founder of Trio Contraste, which specializes in commissioning and performing contemporary music for piano, violin and clarinet.

A graduate of the Juilliard School and the Cincinnati and Peabody Conservatories, Cooperstock studied with Abbey Simon, David Bar-Illan and Walter Hautzig, as well as with collaborative pianist Samuel Sanders. Cooperstock is currently Professor of Piano at the University of Colorado Boulder and faculty member at Saarburg International Festival of Music (Germany) and Classical Music Festival (Eisenstadt, Austria). He is also an honorary professor at Guangxi Arts Institute in southern China. Previous appointments include posts at the University of Oklahoma and Brevard Music Center. Cooperstock has recorded for the Naxos, Azica, Bridge and Albany labels, among others. He is a Steinway artist.

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Audience Spotlight We have greatly enjoyed receiving your responses to the questionnaire and will continue to print them in the spring programs. For those of you who would still like to participate, please send your answers to: edward.dusinberre@colorado.edu.

Dr. Rolf Norgaard, Associate Director of the Program for Writing and Rhetoric at CU Boulder

Maryanne Jerome I bought my home in the mountains near Nederland in late 1988 and moved in in early 1989. I moved here because I wanted to spend the rest of my life in a beautiful environment where I could live in the mountains, be close to skiing and live near a university with a good music department, where a string quartet would be in residence. I have been attending the Takács concerts since 1989. When you started your Encore series, I immediately bought tickets front row center and I have been to every concert since then unless prohibited by severe health or weather problems.

I first got interested in chamber music in 1974 at the age of 37 when I was in my last year of medical school. I decided to buy a cello and began lessons with Patty Tiemeyer; her husband was principal cello of the Utah Symphony. At the end of my first lesson, she asked what my goal was. I didn't know. I remember her saying, "How about chamber music? A lot of doctors like chamber music." I didn't know what chamber music was, but it sounded good enough to get started. She recommended I go to a concert her husband was giving that weekend. They played Beethoven Op. 18 No. 1. I was enthralled. I don't remember the rest of the program, but I loved it. For the next week, I kept singing that six-note motif in F Major, and I vowed I would learn to play it. I've been playing cello almost every day since 1975, mostly Bach suites, and chamber music whenever I can find anyone to play with. I spend one week every July playing with old friends in Montana, coached by the Muir String Quartet.

My favorite music is that of Shostakovich. I love everything he has written, most especially his 15 string quartets, his piano trio in E minor and piano quintet in G minor. Why? I'm not sure, but he speaks to my soul and expresses the most intimate emotions and irony and courage in the face of overwhelming obstacles. I attend concerts mostly hoping I will hear Shostakovich or a new piece I have not heard before.

I am delighted when I see a name I do not recognize on the program. Even if I don't care for the music, it is still good to have heard it.

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Although I studied piano for many years, cello soon became my first love. Two years at the Interlochen Arts Academy nurtured that love, but also made me aware that I did not have the talent to become a first-rate professional musician. Nevertheless, I enjoyed playing both the orchestral and chamber music repertoire.

(I’ve never been quite so terrified in my life as when, a junior in high school, I played in a master class for Janos Starker—the image of his stern face and that black turtleneck, appearing out of a cloud of cigarette smoke, still haunts me!) My academic interests prevailed, but I still managed to commute from Wesleyan University up to the Hartt School of Music every other week to take lessons with the ever gracious Raya Garbousova, who herself flew in from Chicago. Study abroad and a post-graduate fellowship in Munich made keeping up the cello challenging (I couldn’t afford the extra airplane seat). In graduate school at Stanford I managed to find chamber music friends; since we could only rarely find a violist to form a quartet, we opted for various trios. But even as my playing days have receded, my love of chamber music continues to grow. Music has a spiritual dimension, and I still recall how, in Munich more than 40 years ago, I was transported when I heard Mstislav Rostropovich play Bach’s Six Unaccompanied Cello Suites over two nights in an intimate baroque hall.

Like many in the Takács audience, I’m sure, I bring not just a love of chamber music but also some modest musical training to each concert. I’ve been a faculty member at CU Boulder since 1986 and a Takács season subscriber since 1987.

Audience Spotlight

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Michael Wertheimer, Professor Emeritus, Psychology and Neuroscience A fellow member of the CU faculty, I came to Boulder in 1955 to accept a job after teaching for three years in the east (at Wesleyan University) with a 1952 PhD from Harvard. What brought me to Boulder was a good job offer as well as a fascination with mountains, skiing and mountaineering (I was an active member of the Colorado Mountain Club and the Rocky Mountain Rescue Group for decades).

I first became interested in chamber music as a young child; music was an everyday activity in our household. Indeed, family lore has it that my father took my mother when he was courting her to the house of Albert Einstein, where she was to play second violin to Einstein's first violin, my father's viola and another person’s cello for string quartets—and where the Einsteins were to confirm they approved of her.

Many evenings when we were children the family sang together (initially German and then American folk songs—we immigrated to the US from Germany when I was six years old—Christmas carols, etc.), with my father accompanying the songs on the piano or my mother on the guitar.

I can't claim to play an instrument myself, although I've done a fair bit of improvisational playing on the piano and the reed organ and can reasonably well play many old German, French, American and English folk songs. I also learned at age eleven or twelve to play the harmonica, using the tongue to generate partial chord accompaniments to the melodies, on which I can do hundreds of folk songs, Christmas carols, and other stuff (such as Brahms' Lullaby, which I've rendered on the harmonica at already too many funerals of friends, and a pretentious version of Beethoven's “Ode to Joy”—first done pianissimo solely with the melody notes and then repeated forte with elaborate added chords that Beethoven doubtless would have despised). The harmonica has been a wonderful "icebreaker" on the many international travels my wife and I have engaged in. I still have melodies from classical music, including chamber music and folk songs, often running through my head when I'm taking a walk or doing nothing, often with variations that I then sometimes try later to reproduce on the piano or harmonica. Music has been and continues to be an integral part of my everyday life, leading to immense enjoyment.

Carla Selby, Ph. D, CEO Tesseract Incorporated As a friend of the late Wes Blomster, a CU German Professor and for many years the music critic of the Daily Camera, I attended the Takács concerts at the very beginning. I believe that I may have attended your first concert. Both Professor Koromzay, founding violist of the Hungarian String Quartet, and Prof.

Blomster were very proud of their discovery of this promising ensemble. Wes invited your group to his home for lunch in those early days. We included a Hungarian friend to translate since your English wasn’t very fluent. We discussed your training and your hopes for the future in Boulder and beyond.

My family moved to Boulder in 1954 when the National Bureau of Standards (now NIST) relocated from Washington, D.C. My father’s work in radio wave propagation was one reason the Bureau moved to Boulder. I went to CU as an undergraduate. My mother was a pianist—a complementary musician, as it’s called now. We went to all kinds of classical music when I was a kid in Washington, D.C. That music scene in D.C. wasn’t so good. But we had 78 and 33 rpm records and graduated to tapes of classical music when they became available.

I used to play the piano very badly. Now I enjoy very much hearing others play. My absolute favorite chamber piece is the Brahms G minor Piano Quintet (the one with the absolutely wild Hungarian czardas), and many of the Mendelssohn “Songs Without Words” are right up on my list. And then there’s Bach and Mozart. It would be impossible to choose—thank goodness, I don’t have to.

It is also impossible to say exactly how and why classical music is important—to civilization and to me personally. At times I think that it is the principal reason for living. Life would certainly be more chaotic— less rational—without it. In fact I believe that Western classical is the greatest music ever created. But that’s a topic for a long winter’s evening.

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Audience Spotlight

Martin Fritter I have been in Colorado for 55 years and attending Takács concerts for 30 years. I heard the Julliard String Quartet play a Bartók Cycle when 12 years old. It was obvious to me even then that Bartók was a great architect.

I play piano and also enjoy music theory and musicology—especially the work of musicologist Richard Taruskin. I read “Music in the 19th Century” a few years ago, an encyclopedic book with lots of in-depth discussions of individual pieces, by which I mean analysis of scores, which are copiously quoted.

My favorite pieces of music? A hard question. Are you serious? OK: “Die Meistersinger von Nürnberg” and the last three Beethoven Piano Sonatas played by Mauritzio Pollini. This recording was from the height of the DG stereo era and the sound is fantastic. He has perfect rhythmic and dynamic control. Very austere but impeccable, athletic. Come to think of it, the recent release by Mitsuko Uchida is very good too. More coloristic. (I got obsessed with her Schubert stuff a few years ago.)

“Die Meistersinger” is a great piece of theater; Wagner was really a master of characterization. Each act is a single musical arc, so we have very large forms that are quite rewarding. The big fugue at the end of Act II is counterpoint of the highest order. In Act III, Scene 2, there is a moment where the whole lot— principals and chorus—are recapping the Prize Song, then a ritardando, and Eva goes to the top with a pure trill. So after four hours, a perfect moment for the character more at the heart of the thing than any of the others. One of the most profound musical experiences I've had was René Pape as Gurnemanz in “Parsifal” at the Metropolitan Opera about 10 years ago.

Keep in touch and tell us how we’re doing!

Tell us where you found out about today’s performance, and send us your email to be added to our music events mailing list by texting: 612-888-3403 All data is confidential. Phone numbers will not be collected or used

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Barbara Diehl, retired graphic designer, CU Strategic Relations.

I was born in Boulder and have lived here since, minus several years away attending college and graduate school. I worked at CU (Strategic Communications) beginning in 1974, retiring in 2014.

I first attended Takács performances as the guest of my department director. I was hooked, and beginning in 1994, I bought season tickets every year. Maybe my interest in chamber music is hereditary.

My dad played nothing but classical music, so that’s what I heard from my very, very beginnings. I leaned toward chamber and solo instrumental music more specifically in the last twenty or so years. The smaller ensembles are more interesting as they can be heard both as individual instruments and as a whole.

I “played” violin beginning in grade school. Ultimately I got frustrated because I couldn’t play like Isaac Stern and turned to other interests. My very favorite piece is Beethoven’s “Razumovsky” Quartet No. 2. I played the Takács CD (second movement) as background for part of my parents’ memorial service, as they were also longtime Takács supporters. I am also bewitched by the Goldberg Variations (I have four or five different versions) and have a fond spot for the Schubert D.960 Piano Sonata No. 21 and the Beethoven Op. 31 No. 1. They were part of a recital played by Richard Goode in spring 1996 at an Artist Series concert that had been postponed from earlier in the year. The Macky setting in late afternoon, mellow light through the golden glass windows, was memorable magic.

Music can transport me to another existence, away from the everyday babble of civilization. Although the listening experience can be shared with fellow audience members, it remains intimate and singular.

Coming soon...

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80th Anniversary

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Saturday, Feb. 18 at 7:30 p.m.

Macky Auditorium, tickets $20 and up “This was a show of graceful, sensuous dance, expressing a host of raw human emotions—evocative of loneliness, pride, passion and joy.”

The Philadelphia Inquirer

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College of Music Weill Recital Hall Showcase Concert

Monday, Nov. 7, 2016 at 8 p.m.

Weill Recital Hall at Carnegie Hall New York, New York

This fall, some of CU Boulder’s most talented student musicians take to the stage at Carnegie Hall’s Weill Recital Hall for a captivating performance of chamber and

solo works. The program ranges from the romantic music of Liszt, Schubert and Mendelssohn to the new sounds of Kerry Turner, Jörn Widmann and JP Merz. The performers include the 2014 and 2015 winners and finalists of the CU Boulder's Ekstrand Competition.

Featuring

The Altius Quartet (Joshua Ulrich, violin; Andrew Giordano, violin; Andrew Krimm, viola; and Zachary Reaves, cello) "Through Fog," JP Merz String Quartet in A minor, Op. 13, II., Felix Mendelssohn String Quartet No. 9 in E-flat Major, Op 117, V., Dmitri Shostakovich Michael Hoffman, tenor; Benjamin Anderson, horn; and Emily Alley, piano “Auf dem Strom,” Franz Schubert Kellan Toohey, clarinet, and Cecilia Lo-Chien Kao, piano "Fantasie" by Jörg Widmann "Grand Duo Concertant," Op. 48, II. and III., Carl Maria von Weber Grace Burns, piano Transcendental Étude No. 11 in D-flat, "Harmonies du Soir," Franz Liszt CU Boulder Horn Quartet (Jason Friedman, Jordan Miller, Maggie Rickard and Cort Roberts) "Fanfare for Barcs," Kerry Turner Tickets are $40 and can be purchased at carnegiehall.org

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Bigger, bolder, and brighter: Announcing the College of Music Advantage The College of Music continues its push toward a bigger, bolder and brighter future for music at the University of Colorado Boulder.

And it’s a journey the college’s many stakeholders are embarking on together.

Dubbed the College of Music Advantage, the college’s 10-year strategic plan was unanimously approved by faculty and subsequently endorsed by staff and the Music Advisory Board in early 2016.

In his third year at the helm of the college, Dean Robert Shay says the support the plan has received can be largely attributed to the way it was drawn up.

“It was important that this was a homegrown plan,” Shay explains. “Early on, we developed a sense of it being our collaborative effort with everyone having a stake in it. The priorities flowed organically from a series of conversations among many constituents.”

Those priorities include everything from increasing student and curricular diversity to expanding the College of Music’s footprint with newly renovated spaces on campus.

Shay says the college is poised to get off to a great start.

“A critical time in the strategic planning process is between approval and the beginning of implementation.

We have now developed action plans for each year, determined who will be in the driver’s seat for each initiative and decided on necessary resources and deliverables so we can measure our progress effectively.”

In the first year of the plan’s implementation, the College of Music will see several of its top students and ensembles travel to New York’s famed Carnegie Hall for a showcase concert in Weill Recital Hall this November.

The appearance, along with the April 2016 Boettcher Showcase Concert in Denver, represent a major goal of the plan: to connect student success to professional achievement.

“These opportunities not only give students a chance to perform in some of the nation’s greatest venues but also grow our presence in major urban centers,” Shay says.

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Other projects on tap over the next few years—such as the creation of a bachelor’s degree in music with a media and technology emphasis and the expansion of the Musicians’ Wellness Program—are part of the college’s goal to provide more than performance opportunities for students.

“We want to deliver a well-rounded education for all our students, whether they are earning performance or academic-based degrees such as music education,” Shay explains, “though for all students we need to be sure we’re including value-adding experiences that position them for professional success.”

Also coming down the pike are enhanced alumni resources, an annual distinguished lectureship on diversity and inclusion in music and the establishment of a student professional development travel initiative.

As the college looks toward its 2020 centennial, Shay says it’s crucial that administration, faculty and staff not rest on their laurels. “Any successful organization must always be thinking ahead several years and anticipating changes.”

That rings especially true for music in higher education.

“In music, it’s a critical time. So many of the previous conceptions of music education and music careers have been changing rapidly, and this plan allows us to position ourselves as being on the forefront of preparing musicians who will be the leaders of tomorrow.”

You can find more information about the College of Music Advantage on colorado.edu/music and read more in the 2016 edition of Colorado Music Magazine.

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Discover Bixby Boulder’s Progressive School Since 1970

Ars Nova Singers

Small class size Talented teachers Rich academics 3-acre campus with pool, sports fields & beautiful gardens ♦ Engaging hands-on learning ♦ ♦ ♦ ♦

Learn more at: www.bixbyschool.org For a tour, email: Patricia Jarvis: admissions@bixbyschool.org

Our 31st Season 2016-2017 In Concert at The Dairy, with Frequent Flyers

Inspire/Respire: Music in the Air – Nov 18, 19, 20 A Colorado Holiday Tradition

Christmas with Ars Nova – December 9, 10, 11 Music of the Renaissance

Voices & Viols – February 25, 26 Rachmaninoff’s “Other” Masterpiece

Liturgy of St. John Chrysostom – April 28 & 29 tickets/info:

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Global performance. World-class entertainment. You have to be here.

November Piano Romance

Hsing-ay Hsu, piano How can piano music express the transcendent state of being loved?

Pianist Hsing-ay Hsu explores a few different compositional approaches with the astonishing genius of Schumann, Rachmaninoff and Liszt as part of her ongoing “Four Loves Project” concerts.

A Brass Menagerie

Colorado Symphony Brass Quintet Celebrate an evening of brass chamber music with the Colorado Symphony Brass Quintet. From solo works to various ensemble repertoire, this performance will provide an exciting journey through the many glorious sonorities that make the brass section so popular with composers and audiences alike!

Vienna to Budapest

Harumi Rhodes, violin, and David Korevaar, piano Join Rhodes and Korevaar on a trip from Vienna to Budapest! First stop: Beethoven’s Sonata No. 2. Last stop: Bartok’s Sonata No. 2. And along the way, there’s an exploration of Webern’s visionary Four Pieces for Violin and Piano, Op. 7. It’s an excursion not to be missed, full of fantasy, wonderment and lyricism.

SPRING 2017 January 17

February 21

January 24

February 28

January 31

March 7

February 7

March 14

February 14

March 21

David Requiro, cello

Margaret McDonald, piano, with Harumi Rhodes, Jennifer Bird, and Peter Cooper

David Korevaar, piano

Doug Walter, percussion

CU Symphony Orchestra

Jennifer Hayghe, piano

Geri Walther, viola, with Harumi Rhodes, David Requiro and David Korevaar

Alexandra Nguyen, piano

Mike Dunn, tuba

Christina Jennings, flute

More info at colorado.edu/music

Can’t make it? Watch the online livestream at our website!

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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.

80th Anniversary

Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan

John Davis Diane Dunn Mike Gallucci

Artist Series Advisory Board Lissy Garrison Laima Haley Daryl James, President

Benefactor

Lawrence Cohn Martha Coffin Evans and Robert Trembly II Carol and Michael Gallucci Harold and Joan Leinbach Heidi and Jerry Lynch Robert and Sandra McCalmon Judy and Alan Megibow Tiffany Myers and J. M. Steffan Knapp Jerry and Jamie Orten Patricia and Brian Ratner Mikhy and Michael Ritter Theodore and Ruth Smith Lawrence and Ann Brennan Thomas

Mark and Margaret Carson Diane and Richard Dunn Paul Bechtner Foundation Greg Silvus and Melanie Miller

Sponsor

Gil and Nancy Berman Mary Lamy Ellen and Joshua Taxman

Patron

Anonymous Janet Ackermann and Scott Wiesner Joan McLean Braun Chris and Barbara Christoffersen Daryl and Kay James Ruth Carmel Kahn Janet and Scott Martin John F. McKune Louise Pearson and Grant Couch Daniel and Boyce Sher

Supporter

Maryan K. Jaross Ruth Kahn Jerry Orten

Contributor

Dean and Ellen Boal Norma Ekstrand and Tom Campbell Gregory and Gladeane Lefferdink Susan and Jon Lounsbury John Mantey and Erma Mantey Gary and Elizabeth Rauch Alicia and Juan Rodriguez Paul and Luana Rubin Alan and Stephanie Rudy Douglas and Avlona Taylor

Elmer Altschuler and Melisse Perre-Altschuler Center Copy Boulder, Inc.

Louise Pearson Erika Randall Robert Shay

Gregory Silvus Ellen Taxman Nicholas Vocatura

Member

Anonymous Shirley Carnahan Noel A. and Pauline A. Clark Douglas and Rita Dart Robbie Dunlap Merrill and Leslie Glustrom John Graham and Lorin Lear Damon and Laima Haley Jo and David Hill Matthew and Michele Hoovler Maryan Jaross Caroline and Gary Kounkel Pam Leland Judah and Alice Levine Gail and Thomas Madden Paul and Kay McCormick Gail and Julie Mock Margaret Reagor Becky Roser and Ron Stewart Randall Kenneth Rutsch Courtland and Carolyn Spicer Zoe Stivers Lloyd Timblin Jr. Geoffrey Tyndall Heather Van Dusen Jack and Sophie Walker

Corporate Sponsors

Boulder CPA Group, Colorado State Bank & Trust, Food & Water Watch, Frasier Meadows Retirement, H.B Woodsong's, Hurdle's Jewelry, James & Associates, Shaw Construction, WESTAF

In-kind Sponsors

Boulder Blooms, Camera, Hotel Boulderado, KUVO, Liquor Mart, Savory Cuisines Catering

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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 Lyle Bourne and Rita Yaroush Norma Johnson in memory of Fay Shwayder Gary and Judith Judd in memory of Fay Shwayder Takács String Quartet

Sponsor

P.J. Decker and B.A. Saperstein Carol Lena Kovner David and Janet Robertson Marion Thurnauer and Alexander Trifunac

Patron

Thomas and Carol Cech Chris and Barbara Christoffersen Lauren Frear John and Carson Taylor

Supporter

Virginia Boucher William and Alice Bradley Patricia Butler Richard Jessor and Jane Menken Robert R. Kehoe Walter and Eileen Kintsch Paul and Nancy Levitt Patricia and Robert Lisensky Maxine Mark Lise Menn Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter David and Susan Seitz Kathleen Sullivan Lawrence and Ann Brennan Thomas

Contributor

Lois Abbott Carolyn and Don Etter Doree and Jerry Hickman Patricia L. Johnson Harold and Joan Leinbach Bob and Lori Schuyler Helen Stone Patricia Thompson Laurie and Arthur Travers

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Member

Anonymous Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Noel A. and Pauline A. Clark Charlotte Corbridge Richard and JoAnn Crandall Barbara and Carl Diehl Jean and Bob Fischer Lloyd and Mary Gelman Ken and Dianne Hackett Catharine and Richard E. Harris John and Ruthanne Hibbs Elizabeth and Jonathan Hinebauch William Hoffman Ruth and Richard Irvin Bruce and Kyongguen Johnson Jennifer and Bob Kamper Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch

Gail and Thomas Madden Caroline E. Malde John and Nancy Malville Ralph and Nancy Mann J. Richard and Marjorie McIntosh Peter and Doris McManamon Josef and Sara Michl Christopher B. Mueller and Martha A. Whittaker Joan and Ronald Nordgren Margaret Oakes Faith and Roy Peterson Julie and Wayne Phillips Antonia and Timothy Piwonka-Corle Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Berkley A. Tague Betty Van Zandt Chris and Leanne Walther Anthony White James and Nurit Wolf Bill Wood Michael Yanowitch

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, please call the College of Music Development Office at 303-735-6070.

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ARE HIGH SCHOOL ALWAYS Unearthed:

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OUT

Ancient Life in the Boulder Valley

Live Confident

New Vista High School opened in ‘93 with a Exclusively at in a place of light, love & wellness mission “to break the mold” of conventional secondary school practices. We provide CU Museum of Natural History rigorous learning in a supportive culture. Our curriculum is designed to cultivate the unique talents and interests of students who are ready to be more responsible for their own learning.

HIGH SCHOOL

REINVENTED

We give students choices in the programs they take and class work. In exchange, we require that all students do high quality work and earn a grade of A or B in core classes.

New Vista High School opened in ‘93 with a mission “to break the mold” of conventional secondary school practices. We provide rigorous learning in a supportive culture. Our curriculum is designed to cultivate the unique talents and interests of students who are ready to be more responsible for their own learning.

cumuseum.colorado.edu

720.545.1575 575 Tantra Drive

We give students choices in the programs they take and class work. In exchange, we require that all students do high quality work and earn a grade of A or B in core classes.

SELECTED AS

HIGH SCHOOL

REINVENTED

SILVER RECOGNITION AWARD

New Vista High School opened in ‘93 with a mission New Vista High School opened in aa New Vista High School opened in ‘93 ‘93 with with “to break the“to mold” of the conventional secondary school mission break mold” mission “to break the mold” of of conventional conventional practices.

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Recognized an Ashokafor Changemaker school for our use of empathy and equity in our curriculum, and give choices in the programs asWe a School of Opportunity New We give students students choicesfor inAll theStudents, programs they take and class work. we Vista works provide with choices in the they taketo and classstudents work. In In exchange, exchange, we programs take and work In exchange, require that do high quality work require they that all all students students dothey highdo. quality work we and require that all students doB quality work and aa grade of in classes. and earn earn grade of AA or or Bhigh in core core classes. earn an A or B in their core classes.

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700 20th Street, Boulder | 720-561-8700 bvsd.org/schools/nvhs

New Vista

HIGH SCHOOL

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35

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

Anonymous David Allen and Carol DeBaca Paul Eklund Robert Stuart Graham Robert Martin The Academy Charitable Foundation, Inc.

Jim and Judy Bowers Susan Graber Harold and Joan Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Dennis Peterson Dave and Ann Phillips R. Alan and Stephanie Rudy Cynthia and Paul Schauer Carol and Randall Shinn Theodore and Ruth Smith Helen Stone Peter Wall

Sponsor

Alan and Martha Stormo

Patron

Chris and Barbara Christoffersen Lloyd and Mary Gelman Albert and Betsy Hand Gordon and Mitzi Ledingham Krista Marks and Brent Milne

Supporter

Grants

Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation The Schramm Foundation

Anonymous Norman and Vivian Belmonte Stephen Dilts Martha Coffin Evans and Robert Trembly John Hedderich Bob and Mikee Kapelke Mikhy and Mike Ritter Bob and Lori Schuyler Lawrence and Ann Brennan Thomas Ken and Ruth Wright in memory of Mayme Lacy

Member

Anonymous Judith Auer and George Lawrence Jeanie Davis Walter Duncan Donald and Beverly Eklund Joseph and Beverly Elinoff Alexander R. George and Yi-Ting Hsu Ellen and John Gille Janet Hanley Norman Clark Lane Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Bruce Mackenzie Michael Magan Marian Matheson Donna Meckley Kathleen and John Ness Margaret Oakes Robert and Marilyn Peltzer Kim and Richard Plumridge Gail Promboin and Robert Burnham Juan and Alicia Rodriguez Becky Roser and Ron Stewart Ruth Schoening JoAnn Silverstein and Nevis Cook Carol and Art Smoot

About 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

36

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Personnel Staff

Joan McLean Braun, Executive Director Laima Haley, Marketing and P.R. Director Jessie Bauters, Assistant Director of Communications and Web Administrator Daniel Leonard, Marketing Manager Jill Kimball, Public Relations Manager Helen Slivinski, Communications Assistant Maureen Bailey, Communications Assistant Amanda Greening, Graphic Design Assistant Video Production: Emma Salvati, Jackson Xia Emily K. Harrison, Publications Coordinator Zachary Barger, Publications Assistant Nick Vocatura, Operations Director Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Elise Campbell, Taralynn Dorr, Adrienne Havelka, Megan Quilliam, Chris Ruiz, Karen Van Acker Kevin Harbison, Recording Engineer Michael Johnston, Financial Manager Jeni Webster, Membership Benefits Coordinator

Macky Auditorium Staff

Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager Program Editor: Jill Kimball Program Layout: Emily K. Harrison

College of Music Dean's Cabinet

Robert Shay, Dean James Austin, Associate Dean for U.G. Studies Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Steven Bruns, Associate Dean for Grad. Studies John Davis, Associate Dean for Faculty Affairs and Operations Lissy Garrison, Assistant Dean for Advancement

Alexander George, Executive Assistant to the Dean

Brice Johnson, Senior Director and HR Strategic Partner David Mallett, Senior Director of 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

Honorary Members:

Dean Boal, Eileen Cline, Donna Erismann and Dave Grusin

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 auto-park, Lot 310 and Lot 204. Contact the Box Office, or check the CU Presents website for more information.

Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Kathy Kuscan Erma Mantey Ben Nelson Joe Negler Susan Olenwine Tom Price Becky Roser Firuzeh Saidi Jeannie Thompson Jack Walker

CU Presents Box Office cupresents.org 303-492-8008

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.

Please note that the Euclid Autopark will close from Oct. 10 through Jan. 13 due to construction.

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