CU Presents Magazine Takács Fall 2014, Oct. 19-20

2014–2015 Season

Be engaged. Be inspired. Be here.

Global performance. World-class entertainment.

You have to be here.

• The Nutcracker with full orchestra

• Stepping Out 2015 world premiere ballets

• Storybook Ballet a student performance

Photo by Sue Daniels

BOULDERBALLET

20142015SEASON

• The Firebird

a family-friendly event for Mother’s Day

BOULDERBALLETSCHOOL Classes for all ages and levels.

• Ballet in the Park free outdoor concerts

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www.boulderballet.org

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From the Executive Director

Contents

Dear Friends,

40 years of Mummenschanz......... 6

The beginning of autumn and the academic year is an exciting time for the performing arts at CU, with a whole year of scintillating performances lined up before us.

Calendar........................................ 8

This fall’s events range from the sublime silliness of Gilbert and Sullivan’s The Pirates of Penzance to Beyond Zero: 1914-1918, a deeply moving, multimedia commemoration of World War I performed by the Kronos Quartet, and a high-energy evening in the African American dance tradition of stepping from Step Afrika! And as always, the talented faculty and students of the College of Music will bring you an eclectic lineup of performances.

Faculty Tuesdays......................... 20

Why ‘the Great War’?.................. 12

Artist Series Donors.................... 22 Takács Donors............................. 24 CU Opera Donors........................ 28

This fall, I’m also privileged to introduce to you the new dean of the college, Robert Shay, who succeeds Daniel Sher. Rob comes to CU from the University of Missouri School of Music and has held leadership positions at such prestigious institutions as the Longy School of Music and Duke University.

We’re also making some changes to our printed programs that we hope you will find engaging and entertaining. Look for featurettes and interviews with our artists, tips and tidbits from faculty experts, photo collages and more. And we’d love to hear your ideas for stories and features; you can email Clay Evans, director of communications, at clay.evans@colorado.edu.

Tips for the opera newbie............ 29 Personnel.................................... 30

Advertising Information

I look forward to seeing old friends and meeting new ones this fall at CU Presents performances and hearing your ideas. And feel free to email me any time at joan.braun@colorado.edu.

Thank you so much for your continuing support of the performing arts at CU-Boulder.

We truly couldn’t do it without you.

TARGETED MARKETING WITH EVERY PERFORMANCE

Warm regards,

Angie Flachman Johnson, Publisher Annette Allen, Art Director & View, the magazine of the Lone Tree Arts Center, Production Coordinator features performing arts highlights and information about the state-of-the-art facility that serves the south metro community.

Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President 2013/2014 highlights

Joan McLean Braun Executive Director CU Presents

Clay Evans, CU Presents Editor South Pacific in Concert • Big River Yesterday & Today, the All-Request Beatles Tribute Target your marketing with advertising in View Magazine.

Angie Flachman, Publisher 303.428.9529 Ext. 237 angie@pub-house.com www.coloradoartspubs.com Feet Don’t Fail Me Now, A Rhythmic Circus Production

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This program is produced for CU Presents

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Mummenschanz: 40 years of ‘oohs’ and ‘aahs’ Mummenschanz’ back-to-basics puppetry on a blank, black stage offers simple charm and humor for audience of all ages. The visualtheater troupe has performed around the world and brings its 40th-anniversary program to Macky Auditorium on Nov. 7.

Floriana Frassetto, the enthusiastic Italian-American artist who cofounded the Swiss company, answers a few questions about the company’s long success: Can you tell us a bit of history about Mummenschanz?

It was founded in 1972 in Switzerland and we had our first major success at the Avignon Festival in France. We then went to Germany and the United States. … Anna Kisselgoff (of The New York Times) gave us a rave. We never thought we’d be as successful as we still currently are.

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What can you tell us about the 40th-anniversary show?

This addition conveys 40 years of creation. The first 35 minutes represent what we did in the ‘70s, with the clay mask and slinky balloons. The second section represents the ‘80s to the year 2000.

This section is more abstract, more sculptural. The next section starts at the year 2000 and it includes some marionette-like work.

There are oohs and aahs and laughter and applause — people are surprised when the thin little (puppet) talks to you and expresses an emotion. The current show features 30 of the best sketches we’ve made.

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How do you deal with the balance of being both a creator and performer? How do you balance a marriage?

You love it, you fight it, it’s constant. I’m dedicated to my work completely and I love it. I wake up at night and dream how we can improve and change something. I think now we have a very nice mix — people find it funny and playful.

Mummenschanz audiences cover a wide demographic.

It speaks to all ages. We recommend it for six year olds and up.

It’s not so common for people to see a show that works for both children and adults, which is why ours is special.

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2014-15 Calendar

The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky Auditorium.

For detailed information and tickets, go to cupresents.org.

STEP AFRIKA!

Friday, Sept. 19, 2014, 7:30 p.m.

Stepping is a percussive art form that relies on kicking, stomping, clapping and chanting, making for an energetic, dynamic performance, a delight for eyes and ears alike. Step Afrika! is the world’s first professional dance company devoted to this unique art form, a joyous celebration of the African American experience that originated at traditionally black colleges in the early 20th century and traces its roots to traditional African dance. The company will host a free public workshop in stepping from 10 to 11:30 a.m. Friday, Sept. 19 in the Charlotte York Irey Theatre in the University Theatre Building at CU-Boulder.

Sponsored by Caplan & Earnest and supported by a grant from the Western States Arts Federation.

MUMMENSCHANZ

Friday, Nov. 7, 2014, 7:30 p.m.

Silence, illusion, light and shadow. Masks and props made from everyday objects. Mind and body, sleight of hand. For more than four decades, the surreal Swiss theater troupe has brought myth, mystery and plenty of laughter to audiences around the world, using its unique universal language to explore the human condition.

CHRISTMAS WITH THE KING’S SINGERS

KRONOS QUARTET

Beyond Zero: 1914–1918 Wednesday, Oct. 8, 2014, 7:30 p.m.

Join the world-renowned Kronos Quartet for a program that includes a commemoration on the centennial of the outbreak of “the war to end all wars.” Beyond Zero: 1914-1918, by Serbian composer Aleksandra Vrebelov musically explores the brutality that set off a century of bloody warfare and features projections of seldom-seen film from World War I. The first half of the program features music by Nicole Lizée, Yuri Boguinia and others.

Supported by a grant from the Roser Visiting Artist Fund.

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Friday, Feb. 6, 2015, 7:30 p.m.

Get ready for incomparable originality, a little jamming and a lot of fun when the hip, cutting-edge chamber music of Alarm Will Sound melds with the eclectic avant-jazz-funk sound of Medeski, Martin and Wood. The groove-oriented trio, a hit on the jam-band circuit pioneered by the Grateful Dead, and the versatile new-music ensemble will take you on an evening of daring collaboration and thrilling improvisation.

THE ASSAD BROTHERS WITH ROMERO LUBAMBO

THE KING’S SINGERS

KRONOS QUARTET

MEDESKI, MARTIN AND WOOD WITH ALARM WILL SOUND

Thursday, Dec. 11, 2014, 7:30 p.m.

The Grammy Award-winning British male sextet arrives on the cusp of winter to perform an enchanting Christmas concert. With their unique melodic arrangements, impeccable vocal blend and trademark playfulness, the ensemble brings both wit and warmth to seasonal music, both traditional and contemporary.

Sponsored by Hurdle’s Jewelers.

BILL T. JONES AND ARNIE ZANE DANCE COMPANY

Play and Play Thursday, Jan. 22, 2015, 7:30 p.m.

Choreographed to some of the world’s best-loved and most seminal works of classical music— Mozart, Ravel, Schubert—and performed with live musicians, Bill T. Jones’ astonishingly original, muscular work, Play and Play, is dance like you’ve never seen it before. Winner of two Tony Awards and recipient of a MacArthur “genius” grant, Jones has continually expanded the possibilities of dance.

Sponsored by James & Associates.

Thursday, Feb. 19, 2015, 7:30 p.m.

Exotic Latin flair takes the stage when the Assad Brothers, Brazil’s most celebrated classical guitarists, join with jazz guitar virtuoso Romero Lubambo for Samba Exótico, an exploration of Samba and Choros, a popular 19th-century genre that blossomed in Rio de Janeiro. With its roots in Africa and unique fermentation in the coastal city of Bahia, Samba vibrates with the essence of Brazil.

Sponsored by Shaw Construction and partnered by H.B. Woodsong’s.

NATALIE MERCHANT WITH THE CU SYMPHONY ORCHESTRA

Thursday, April 2, 2015, 7:30 p.m.

Over her stellar 30-year career, Natalie Merchant has been the driving force behind alt-pop sensation 10,000 Maniacs and embarked on a multi-platinum solo career, always delving deep into the human condition with her lyrical storytelling.

Now she brings that same searching literary sensibility and her distinctive vocal style to new heights in a performance of her music, old and new, arranged for orchestra.

Sponsored by Hurdle’s Jewelers.

The Grammy Award-winning quartet—Edward Dusinberre, violin; Károly Schranz, violin; Geraldine Walther, viola; and András Fejer, cello—has been selling out concerts for three decades at CU-Boulder with an irresistible blend of viruosic technique and engaging personalities. Each season includes a concert by a special invited guest ensemble.

All Takács performances take place in Grusin Music Hall. Takacsquartet.com

TAKÁCS QUARTET

Sunday, Sept. 21, 2014, 4 p.m.

Monday, Sept. 22, 2014, 7:30 p.m.

Program: Mozart’s String Quintet in G minor, K. 516 Beethoven’s Quartet in B-flat major, Op. 130

SPECIAL GUEST THE CAVANI STRING QUARTET

Sunday, Oct. 19, 2014, 4 p.m.

Monday, Oct. 20, 2014, 7:30 p.m.

Grusin Music Hall The world-famous, all-women Cavani Quartet, named after the 19th-century Italian violin makers Giovanni and Vincenzo Cavani, celebrates its 25th anniversary this year. The Cleveland Plain Dealer says, “Together, these players make music with passionate conviction, as if their lives depended on interaction.” cavani.org

TAKÁCS QUARTET

Sunday, Nov. 2, 2014, 4 p.m.

Monday, Nov. 3, 2014, 7:30 p.m.

Program: Mozart’s String Quartet in C major, K. 465 Debussy’s String Quartet in G minor, Op. 10 Beethoven’s String Quartet No. 2 in E minor, Op. 59

By Gilbert and Sullivan Oct. 24-26, Macky Auditorium Gilbert and Sullivan’s beloved comic operetta tells of the coming of age of Frederic, indentured to pirates as a boy, and his desire to leave the buccaneer’s life and marry beautiful Mabel.

But first, he must find a way to defeat the swashbucklers he’s known and loved all his life.

COSÌ FAN TUTTE

By Wolfgang Amadeus Mozart March 13-15, Macky Auditorium Mozart’s witty opera buffa follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities make for a comic romp that was considered too hot for audiences even in the early 20th century. Featuring some of the composer’s most sumptuous arias, duets, and ensemble pieces make for a decadent and enchanting evening of opera. Sung in Italian with English surtitles.

Sunday, April 26, 2015, 4 p.m.

Monday, April 27, 2015, 7:30 p.m.

Program TBA

TAKÁCS QUARTET

Sunday, Jan. 25, 2015, 4 p.m.

Monday, Jan. 26, 2015, 7:30 p.m.

Program TBA

TAKÁCS QUARTET

Sunday, March 8, 2015, 4 p.m.

Monday, March 9, 2015, 7:30 p.m.

Program TBA

Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU Opera has it all. Director Leigh Holman and Music Director Nicholas Carthy showcase the talent of the future in three productions each season. Go to cupresents.org for detailed ticket information and times.

THE PIRATES OF PENZANCE

TAKÁCS QUARTET

L’INCORONAZIONE DI POPPEA (THE CORONATION OF POPPEA)

By Claudio Monteverdi April 23-26 Music Theatre, Imig Music Building Monteverdi’s drama about sex, crime and realpolitik during the debauched reign of the Roman Emperor Nero, turns conventional morality on its head—virtue is punished and greed rewarded. The sensual duet between Nero and his lover Poppea is the pièce de résistance. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.

HOLIDAY FESTIVAL

Dec. 5-7, Macky Auditorium

(see cupresents.org for detailed ticket information and times)

A lively program of seasonal music and festive holiday decorations in Macky Auditorium inspire sold-out audiences and make the Holiday Festival a beloved annual tradition. Choirs, orchestra, ensembles and faculty soloists from the CU-Boulder College of Music invite you to share the joy and warmth of the season with your family and friends.

SPRING SWING

April 12, 2 p.m., Macky Auditorium Join the CU Concert Jazz Ensemble and guest artists for a swinging return to the Big Band era. The program will feature music from the ensemble’s new recording, a tribute to the greatest bands and composers of the era, including Benny Goodman, Glenn Miller, Duke Ellington, Count Basie and more.

| 303.492.8008 | 9

Tomorrow’s talent is onstage today with a wide variety of performances from CU students and faculty.

For detailed ticket and event information go to www.colorado.edu/theatredance. of Dickens’ classic holiday ghost story, complete with new lyrics to famous Broadway show tunes.

OUR TOWN BY THORNTON WILDER

Directed by Lindsay Weitkamp and Wesley Longacre Sept. 26-Oct. 5, University Theatre Wilder’s beloved, Pulitzer Prize-winning classic depicts life, love and death in the small American town of Grover’s Corners. The community’s hopes and dreams expand into questions about meaning and purpose: How does one “realize life”? How do we take advantage of the time that we have?

A BROADWAY CHRISTMAS CAROL

By Kathy Feininger, Directed by Nathan Stith Dec. 4-21, University Theatre If Charles Dickens had huddled with Rodgers and Hammerstein, Andrew Lloyd Webber, and Matt Stone and Trey Parker to write a holiday show, they just might have come up with A Broadway Christmas Carol. Simultaneously irreverent and respectful, the play offers a fresh, hilarious and charmingly recognizable retelling

TARTUFFE BY MOLIÈRE

Translated by Christopher Hampton Directed by Lynn Nichols Feb. 13-22, University Theatre French playwright Molière’s comic masterpiece skewers religious hypocrisy, mindless piety and sexual deceit was so daring at the time of its writing that audience members could be excommunicated for seeing it. Tartuffe tells how a “man of the cloth” worms his way into the gullible heart of Orgon, a rich family man, and tries to take him for all he has.

JESUS CHRIST SUPERSTAR

Lyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia Pang April 10-19, University Theatre Ever since the controversial rock opera by Andrew Lloyd Webber and Tim Rice was released as a concept album in 1970, it has

enflamed the passions of critics and fans alike.

The story of Jesus of Nazareth during his final days, this high-energy, immensely popular show plunges deep into the hearts of the men and women, from Judas Iscariot to Mary Magdalene to Pontius Pilate, who played a part in one of the most momentous stories ever told.

THE CURRENT

April 17-19 Charlotte York Irey Theatre A showcase of vital new works by CU dance faculty and Millicent Johnnie, the 2014-15 Roser Guest Artist in Dance. Johnnie has performed with Urban Bush Women, Cleo Parker Robinson Dance Ensemble and Hubbard Street Dance Chicago. She has choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes.

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What was so ‘great’ about the Great War? This year marks the centennial of the beginning of World War I. On Oct. 8, the Kronos Quartet will perform “Beyond Zero: 19141918,” a multi-media work with music by composer Aleksandra Vrebelov and a film by Bill Morrison, based on long-lost archival film footage from the war.

We asked Martha Hanna, professor of history and World War I expert at CU-Boulder, how that brutal, bloody conflict came to be known as the “Great War.” “It was the ‘Great War’ to those who lived through it—or died in it—because of its catastrophic effects, felt at the time and reverberating to this day,” she says, offering the following examples: Soldiers. Millions of men, from almost every continent on earth, fought in the Great War: 13 million Germans, 8 million Frenchmen, 5 million Britons, 2 million Americans. Estimates vary, but it is possible that as many as 10 million men died, and twice that many were wounded, some with disabling wounds— physical and psychological—which haunted them for the rest of their lives.

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Civilians. Civilians also felt the grim effects of war, in ways that would become characteristic of warfare in the 20th and 21st centuries. More than one million Armenian civilians were

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victims of genocide in 1915-16. On a much smaller scale, air raids—a new phenomenon in 1914 but a commonplace of modern warfare—targeted and killed civilians in London and Paris.

Political upheaval. Four empires—Germany, AustriaHungary, Russia and the Ottoman Empire—collapsed as a direct consequence of their participation in the war. By making possible the Bolshevik seizure of power in 1917, the Russian Revolutions of that year laid the foundations for the Cold War. The collapse of the Ottoman Empire created political instability and the roots of the Middle East crises, which continue to this day.

Debt. The war left all the major European nations in debt, and the victors insisted that Germany pay $33 billion in reparations.

Anger over reparations, a key element in Nazi propaganda, helped undermine democracy in Germany after the Great War. Martha Hanna is Professor of History at the University of Colorado, Boulder. She is the author of the prize-winning book, Your Death Would Be Mine: Paul and Marie Pireaud in the Great War.

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Annie Fullard, violin Mari Sato, violin Kristen Docter, viola Merry Peckham, cello Guest artist, Erika Eckert, viola Program String Quartet No. 10 in E-flat major, Op. 125, No. 1, D. 87 Allegro moderato Scherzo. Prestissimo Adagio Allegro String Quartet No. 9 in E-flat major, Op. 117 Moderato con moto Adagio Allegretto Adagio Allegro (Movements played without pause)

Franz Schubert (1797-1828)

Dmitri Shostakovich (1906-1975)

Intermission String Quintet No. 2 in B-flat major, Op. 87 Allegro vivace Andante scherzando Adagio e lento Allegro molto vivace

Felix Mendelssohn (1809-1847)

Outreach activities at CU-Boulder and in the Boulder community during the Cavani String Quartet’s residency are generously supported by a grant from the Roser Visiting Artist Endowment.

The Cavani String Quartet is a guest artist of the Takács Quartet Chamber and Encore series.

CAVANI QUARTET — Oct. 19-20, 2014

Cavani Quartet

C-2 | cupresents.org | 303-492-8008 |

Program Notes

By Marc Shulgold

CAVANI QUARTET — Oct. 19-20, 2014

String Quartet in E-flat major, D. 87 His life tragically cut short after a mere 31 years, Schubert nonetheless created hundreds of compositions in nearly every genre—starting, naturally, at a very young age. His musical training began early, when he was a member of the boys’ choir at the Imperial and Royal City College of Vienna, his hometown. While a student, his teachers immediately recognized his talent. “He has learnt everything from God, that lad,” wrote one instructor. Soon, he was studying privately with the Viennese Court’s music director, Antonio Salieri—friend and rival of Mozart and teacher of Beethoven.

Schubert left the school in 1813 at the behest of his father, who preferred his son pursue the more practical career of schoolteacher, following the elder Schubert’s path, as well as that of Franz’s brothers. Nonetheless, the promising 16-year-old continued his studies with Salieri. Ironically, working toward a career in education actually offered more time for composition, as the large number of works from 1813 indicates.

There are pieces for piano duet, wind ensemble, a symphony in D and a smattering of songs. Among the chamber offerings were six complete or incomplete string quartets, concluding with the E-flat quartet—a work that later caused confusion among those

Franz Schubert cataloging his output. Until a fragment of the original manuscript was discovered after World War I, it was thought to be a work written much later, based on the mature ideas it contained. Schubert dated it November 1813; it was published posthumously in 1830 as Opus 125 No. 1 and labeled No. 10.

No doubt the music was first played by the Schubert family, who enjoyed collaborating on string quartets: Franz on viola, his brothers Ignaz and Ferdinand on violin and papa on cello.

From the E-flat quartet’s dutiful adherence to proper musical form, combined with its consistently relaxed moods, it’s clear that the young composer was not out to set the world on fire. It’s also evident that he had a strong affinity for the work’s home key, since all four movements begin and remain in E-flat (with the exception of a brief Trio within the Scherzo movement).

Gentle, lush chords kick off the opening Allegro, as well as the equally calming Adagio. Schubert’s impish humor highlights the Scherzo, with its amusing hee-haw effects. The concluding Allegro bounces along merrily, highlighted by a truly Schubertian second theme. This is charming music, and a very far cry from the otherworldly chamber works soon to come.

String Quartet No. 9 in E-flat major, Op. 117 You couldn’t fault Shostakovich if he had heaved an audible sigh of relief at the news of Josef Stalin’s death in 1953. The nemesis of all forward-thinking Soviet artists was finally gone—alas, the “Dear Father’s” distaste for music deemed unsuitable for “the people” hardly disappeared with him.

Yes, in 1956 Nikita Khrushchev (soon to become premier) had boldly condemned Stalin in his famous “secret speech” to the 20th Party Congress, but it was he who later complained of nausea and stomachaches after a jazz concert organized by Shostakovich in 1964.

The so-called “thaw” initiated by Khrushchev did help create a return to favor for the composer, beginning with the 1962 revival of Lady Macbeth of the Mtsensk District—the opera that had so enraged Stalin 26 years earlier. The same year also witnessed the completion of the Symphony No. 13, Babi Yar, a denunciation of anti-Semitism. No surprise that the work, using a

Dmitri Shostakovich

controversial text by Yevtushenko, led to ripples of disapproval.

Shostakovich’s roller-coaster ride seemed unending, marked by criticisms and scorn one day, praise and public honors the next, including an invitation from Khrushchev to join the Communist Party in 1961—a request that the composer accepted, much to the dismay of friends.

Torn between his distaste for the repression of artists and his weariness at fighting the power structure (not to mention increasingly poor health), he forged on through the 1960s. Perhaps because of his unending anxiety, several of Shostakovich’s works had contained carefully hidden political references. For example, those three slashing notes in the String Quartet No. 8 (1960) are a reference to the KGB’s dreaded three knocks on the door. Nothing like that can be uncovered in the next

quartet, however.

It’s not clear what caused the destruction of the first attempt at a Ninth String Quartet in the fall of 1961. The composer described it as “an attack of healthy selfcriticism (in which) I burnt it in the stove.” He would try again, retaining the original key of E-flat, and taking only 26 days in May 1964 to write the new Ninth. (Perhaps buoyed by the speed in completing Op. 117, he finished the Tenth Quartet only three months later.)

The Ninth’s predecessor had been constructed with five connected movements, and that structure continues here. The first four average about four minutes each, while the finale stretches to more than 10—itself divided into several contrasting episodes. The music begins in an eerie state of superficial contentment, the rolling

String Quintet No. 2 in B-flat major, Op. 87

melodic lines carrying a certain unease about them.

The first of two Adagios emerges in dirge-like fashion, introduced by the viola. Quietly, the first violin changes the mood with that repeating bada-Bum bada-Bum rhythm heard so often in Shostakovich’s music (he later quotes Rossini’s William Tell gallop in his 15th Symphony), and just like that, the polka-like Allegretto kicks in. A mood of intense seriousness returns in the muted second Adagio, marked by a disturbing series of emphatic strummed statements. The extended finale includes an agitated fugue, a quasi-Russian folk dance, a cello monolog, unison strumming, more galloping and, of all things, something resembling a triumphant ending in the Quartet’s heroic home key of E-flat.

Knowing the composer’s cynicism, we’re guessing the triumph is a hollow one.

Felix Mendelssohn

Like Schubert’s life, Mendelssohn’s time on Earth was cut short early, yet allowed for a huge amount of music to be written. Unlike Schubert (whose musical voice was all but unknown outside of Vienna), the joys of widespread fame and financial security, a happy marriage and fatherhood were in abundance for this handsome, multi-talented son of a respected German family.

It’s not fully understood why he wrote the Op. 87 B-flat Quintet – perhaps it was from a suggestion a year earlier

by Ferdinand David, concertmaster of the Gewandhaus Orchestra, who asked for “a violin piece … or else a quintet.” The bulk of Op. 87 was completed during a summer respite near Frankfurt in 1845, a few months after David premiered Mendelssohn’s immortal Violin Concerto.

He worked tirelessly—some say it contributed to his death at age 38. Mendelssohn might stand as the most successful musician of his day, serving as music director of the Leipzig Gewandhaus Orchestra and founder of that city’s prestigious conservatory, in addition to touring the continent as pianist and conductor. He also was appointed music director of Berlin’s Academy of Arts (it was Prussia’s King Frederick William IV who commissioned the incidental music that complemented Mendelssohn’s early overture to A Midsummer Night’s Dream).

What appears to us to be a first-rate finished work was hardly that to its composer, who confessed to his friend Ignaz Moscheles that the quintet’s gregarious finale fell short of his standards. Plans to rework the piece never materialized (it was published posthumously in 1851), and it’s unlikely it was ever performed in his lifetime. In an interview, Mendelssohn explained that each work is “an exercise in forms and the representation of ideas.

Here you have the reason why I have written so many compositions which have not and never should be printed.”

Amazing to think that he found time to compose— and with such facility and inspiration. In the realm of chamber music, Mendelssohn is justly praised for such works as the early Octet in E-flat major, Op. 20, as well as later string quartets and piano trios. His last chamber piece was the mournful F-minor quartet (Mendelssohn’s beloved sister Fanny had died suddenly). Praise is also due his second string quintet, written just before the final quartet.

Fortunately, the sunny B-flat quintet was allowed to join his other brilliant chamber works. From the first measure, Mendelssohn’s inimitable stamp is present, with a julilant upward theme supported by his trademark tremolo chords—all swiftly replaced by a leisurely, lyrical second idea. Memories of the String Octet, perhaps? The Andante scherzando offers a lilting little dance, featuring some imitative phrases that serve to involve all five players—even if the first violin is star here (and in most of the quintet, for that matter). The sumptuous Adagio serves as the emotional core of this work, built on a simple minor-key lament, perhaps carrying just a trace of the Mendelssohn family’s Jewish heritage. Like the opening Allegro, the finale bristles with an excitement and exuberance that sweeps along in dizzying counterpoint and powerful unison statements. Pure, magical Mendelssohn.

Back in 1826, the same year he produced the Midsummer overture, the 17-year-old composer wrote the first quintet, for string quartet plus viola (as Mozart had favored, rather than a second cello). No surprise that the music bubbles with youthful innocence and grown-up confidence. Curiously, it would take nearly 20 years before he returned to the genre.

CAVANI QUARTET — Oct. 19-20, 2014

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CAVANI QUARTET — Oct. 19-20, 2014

Cavani String Quartet For the past 30 years, the Cavani String Quartet has been universally acclaimed for their superlative and compelling performances and their passionate commitment and expertise in the field of arts education and community engagement. Of one recent performance clevelandclassical.com wrote, “The Cavani Quartet is a true musical tour-de-force … an astonishingly beautiful and technically superb performance .... chamber music at it’s best.”

The Cavani String Quartet is the only ensemble to have received the Guarneri String Quartet Award for Artistic Excellence twice, in 2005 and 2011, from Chamber Music America. Appearances include Carnegie Hall and Alice Tully Hall in New York, the Corcoran Gallery of Art and Kennedy Center in Washington D.C., the Ambassador Series in Los Angeles, Muziekcentrum De Ijsbreker in Amsterdam, Festival de L’Epau in France and the Honolulu Chamber Music Society. The quartet has the honor of being a winner of the prestigious Naumburg Chamber Music Award as well as numerous competitions including, Fischoff, Banff and Coleman.

Active proponents of contemporary music, the quartet has commissioned and performed a worldwide array of living composers and is a recipient of the CMA/ASCAP Award for Adventurous Programming. The quartet has been featured on National Public Radio’s Performance Today and St. Paul Sunday, NBC, CBS, ABC and PBS television. Cavani Quartet recordings of Bartók, Dvořák, Schumann, Brahms, Erb, Chausson, Brouwer and Primosch are available on the Azica, Gasparo, New World, Albany and Pantheon labels. Collaborations with distinguished artists include Robert Mann, Anton Nel, Sergei Babayan, Stephanie Blythe, Nathan Gunn, Alisa Weilerstein, Itzhak Perlman and members of the Juilliard, Emerson, Takács, Ying, St. Lawrence and Cleveland Quartets.

The Cavani Quartet has established itself as a dynamic leader in the field of arts in education and has received 10 Chamber Music America Residency Partnership Grants. Nationally acclaimed for their inspiring and innovative teaching and proactive approach to residencies, the quartet has developed creative programs for audiences of all ages, including a series of children’s concerts for the Chamber Music of Lincoln Center. The Cavani Quartet has also collaborated with artists across disciplines to create programs that unite poetry, as well as painting, theater and dance in the string-quartet medium, including the award-winning M.A.P. (Music, Art and Poetry) Program, and Collage: Music and Poetry, with poet Mwatabu Okantah. As

result of their extensive experience in chamber-music education, the Cavani Quartet was invited to participate as a leadership ensemble in the first national Chamber Music Educator/Ensemble Seminar sponsored by Chamber Music America.

Formed in 1984, the Cavani Quartet was appointed quartet-in-residence at the Cleveland Institute of Music in 1988. Music festival appearances and residencies include the Aspen Music Festival, the New World Symphony, Norfolk Chamber Music Festival, Kniesel Hall Chamber Music Festival and the Perlman Music Program. At the Cleveland Institute of Music the Cavani Quartet has developed The Intensive Quartet Seminar, the Apprentice Quartet Program and The Art of Engagement for student ensembles devoted to the serious study of chamber music.

The quartet has served as visiting artists-in-residence at the University of Texas at Austin, Southern Illinois University Carbondale, the University of California, Riverside, and most recently the inaugural year of the University of Iowa String Quartet Residency Program.

The quartet has been on the advisory board of Amateur Chamber Music Players and currently serves on the honorary board of the Suzuki Association of the Americas.

The Cavani Quartet was awarded a Cuyahoga Arts and Culture Project Support Grant for their innovative Beethoven & Brotherhood Project—performing the complete quartets of Ludwig van Beethoven in 16 neighborhood libraries throughout Cleveland. The Quartet ‘s acclaimed 2010-2012 series, Breaking Barriers with Bartok, featured the complete quartets of Bela Bartok in a lecture-demonstration format, illuminating the composer’s work as an ethnomusicologist and humanitarian. During the 2013-2015 seasons the Cavani Quartet is serving as Master Quartet in Residence for the Chamber Music Society of Detroit for which they have been awarded their 10th Chamber Music America Residency Partnership grant.

For more information please visit cavani.org.

Erika Eckert is associate professor of viola at the University of Colorado Boulder College of Music, and co-founder and former violist of the Cavani Quartet.

For a complete bio please visit colorado.edu/music.

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And, check out upcoming metro-area performing arts events in the calendar.

CenterStageClub.com The Center Stage Club is produced by Colorado’s Performing Arts Publications

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MICHAEL BUTTERMAN, MUSIC DIRECTOR

2014-2015 SEASON

Legends: The Spirit of Boulder

Opening Night: Scheherazade

SEP. 14, 2014—7 PM at Macky GABRIELA MARTINEZ, PIANO CHARLES WETHERBEE, VIOLIN SAINT-SAËNS Piano Concerto No. 2

Stravinsky’s Firebird Suite

OCT. 11, 2014—7:30 PM TWYLA ROBINSON, SOPRANO BRIAN JONES, TIMPANI STRAUSS Four Last Songs SIBELIUS • GRIFFES

Piano Legends: The Music of Billy Joel & Elton John NOV. 8, 2014—7:30 PM

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Faculty Tuesdays

Faculty Tuesday recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building at CU-Boulder.

All performances are free and open to the public.

AUGUST 26:

Paul McKee, trombone

Meet the New Guy: The Arrangements and Compositions of Paul McKee

SEPTEMBER 2:

Yoshiyuki Ishikawa, bassoon

The Versatile Bassoon— Works from Baroque to Modern

SEPTEMBER 9:

SEPTEMBER 23:

Alejandro Cremaschi, piano

Unos y Dos Pianos del Sur

SEPTEMBER 30:

Charles Wetherbee, violin

with David Korevaar and friends

OCTOBER 7:

Christina Jennings, flute

Matthew Chellis, tenor

SEPTEMBER 16:

OCTOBER 14:

Bach Preludes and Fugues—Take two!

Musikabend: Brahms

with David Korevaar, Andrew Cooperstock and more

Elizabeth Farr, harpsichord

and friends

Hsing-Ay Hsu

OCTOBER 21:

Nicolò Spera, guitar

German Poetry: Johann Sebastian Bach

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OCTOBER 28:

Michael Thornton, horn

Inspired by Brahms

NOVEMBER 4:

Carter Pann, composer

With The New Music Ensemble and friends

NOVEMBER 18:

Daniel Silver, clarinet

Atonement

DECEMBER 2:

Margaret McDonald, piano

Best of Broadway

University of Colorado Museum of Natural History

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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 worldclass 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.

BENEFACTOR Mark and Margaret Carson Carson-Pfafflin Family Foundation Greg Silvus and Melanie Miller Ellen and Joshua Taxman SPONSOR Diane and Richard Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch PATRON Anonymous Joan McLean Braun Chris and Barbara Christoffersen Ruth Carmel Kahn Midge Korczak Hal Osteen Scott Wiesner and Janet Ackermann SUPPORTER Anonymous Albert and Nancy Boggess Fiona and Marv Caruthers Carol and Michael Gallucci Doree and Jerry Hickman Myra Jackson Susan and Jon Lounsbury Heidi and Jerry Lynch Janet and Scott Martin Robert and Sandra McCalmon Judy and Alan Megibow Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Lawrence and Ann Thomas CONTRIBUTOR Ellen and Dean Boal Norma Ekstrand and Tom Campbell Marty Coffin Evans and Robert Trembly Harold and Joan Leinbach Robert and Francine Myers Barbara and Irwin Neulight Gary and Beth Rauch Stephanie and Alan Rudy Kenneth Pope and Christine Willis 22 |

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MEMBER David Beausang Gil and Nancy Berman Shirley Carnahan Pauline and Noel Clark Catherine Cloutier Kenneth Dell Fran Evans Leslie and Merrill Glustrom John Graham and Lorin Lear Gregory and Gladeane Lefferdink Pamela Leland Judah and Alice Levine Thomas and Gail Madden Paul and Kay McCormick Janet and Hunter McDaniel Tammy Noirot Kim and Rich Plumridge Randall Rutsch Ruth Shanberge in memory of Carol Seideman Mary Ann Shea and Steven Meyrich Courtland and Carolyn Spicer Zoe Stivers Randi and Anthony Stroh Tom and Karen Thibodeau Lloyd Timblin Jr. Geoffrey Tyndall Derek Van Westrum Vince and Caroline Wayland

CORPORATE SPONSORS: Caplan & Earnest Center Copy Boulder, Inc. Frasier Meadows Retirement H.B Woodsongs Hurdle’s Jewelry James & Associates, LLC Roser Visiting Artist Endowment Shaw Construction WESTAF IN-KIND SPONSORS Boulder Weekly Colorado Public Radio The Daily Camera Flowers in Bloom Hotel Boulderado KUNC KUVO Liquor Mart The Pines Catering

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Takács Society

The Takács Society is formed by the College of Music and provides the resources critical to supporting the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attracting and retaining exceptionally gifted young artists and sponsor guest artists in the Takács performance series.

BENEFACTOR Albert and Nancy Boggess Gary and Judith Judd in memory of Fay Shwayder Norma R. Johnson Fund in memory of Fay Shwayder SPONSOR Pamela Decker Janet and David Robertson Marion Thurnauer and Alexander Trifunac PATRON Catharine Hawkins Foundation Thomas and Carol Cech Chris and Barbara Christoffersen Carol Lena Kovner Kathleen Sullivan The Takacs Quartet John and Carson Taylor SUPPORTER Anonymous Robert R. Kehoe Walter and Eileen Kintsch Lise Menn Virginia M. Newton Newton Family Fund, Inc. Neil and Martha Palmer Mikhy and Michael Ritter Susan and David Seitz Lawrence and Ann Thomas James and Lena Wockenfuss

CONTRIBUTOR Virginia and Stanley Boucher William and Alice Bradley Christopher and Margot Brauchli Noel and Pauline Clark Harold and Joan Leinbach Nancy and Paul Levitt Patricia and Robert Lisensky Cheryl Stevenson and James Cannon Stevenson-Cannon Family Fund Lynn Streeter Randi and Anthony Stroh Patricia Thompson MEMBER Lois Abbott Maria and Jesse Aweida Ted and Ingrid Becher Marda Buchholz Kevin and Diana Bunnell Patricia Butler Shirley Carnahan Penny Chenery Charlotte Corbridge Joann and Richard Crandall Barbara and Carl Diehl Carolyn and Don Etter Marcia Geissinger and Neil Ashby Mary and Lloyd Gelman Steve Goldhaber and Mariana Goldhaber-Vertenstein Dianne and Kenneth Hackett David Hammer Jon and Liz Hinebauch Bruce and Kyongguen Johnson Jennifer and Bob Kamper Caryl and David Kassoy Mireille Key Alice and Judah Levine

If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070.

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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Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar Thomas and Gail Madden Caroline Malde Nancy and John Malville Maxine Mark J. Richard and Marjorie McIntosh Peter and Doris McManamon Christopher Mueller and Martha Whittaker Joan Nordgren Alison and Graham Oddie Joanie Oram Julie and Wayne Phillips Arthur and Ina Rifkin Joanna and Mark Rosenblum JoAn Segal Ruth Shanberge in memory of Carol Seideman Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Jan and Charles Squier Helen Stone Berkley Tague Laurie and Arthur Travers Mary and Peter Van Etten Betty Van Zandt Thomas VanZandt Christopher and Leanne Walther Bill Wood M. Yanowitch

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Friends of CU Opera The CU 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 CU Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting CU Opera, please contact our development office at 303-735-6070.

BENEFACTOR Anonymous The Academy Charitable Foundation, Inc. Allen Family Fund Paul Eklund Bob Graham Ann Oglesby SPONSOR Alan and Martha Stormo PATRON Chris and Barbara Christoffersen Albert and Betsy Hand Bob and Mikee Kapelke Ken and Ruth Wright Wright Family Foundation SUPPORTER Anonymous Caulkins Family Foundation John Hedderich Jo and David Hill Mikhy and Mike Ritter Rotary International District # 5450 Lawrence and Ann Thomas CONTRIBUTOR Donna and Ken Barrow Jim and Judith Bowers Walt and Mary Ruth Duncan Martha Coffin Evans and Robert Trembly David and Janet Hummer Harold and Joan Leinbach Burr Lloyd Dave and Ann Phillips Peter Wall

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MEMBER Judith Auer and George Lawrence Bob Burnham and Gail Promboin Allene Cash Ben and Gale Chidlaw Wallace and Beryl Clark Peter and Joan Dawson Richard and Margaret Dillon Ellen and John Gille Steve Goldhaber and Mariana Goldhaber-Vertenstein Susan Graber Janet Hanley Linda L. Johnson Frank and Marion Kreith Nicholas and Mollie Lee Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce Mackenzie Marian Matheson Byron and Cathy McCalmon Denise McCleary and Paul Von Behren Corinne McKay Richard and Donna Meckley Pat and Bob Meyers Marilyn Newsom Margaret Oakes Robert and Marilyn Peltzer Dennis Peterson Juan and Alicia Rodriguez Elaine Schnabel Ruth Schoening JoAnn Silverstein and Nevis Cook Helen Stone Daniel Urist

GRANTS Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation

New to the opera? Here are a few tips CU Opera director Leigh Holman describes opera as “a thrilling spectacle, rich in emotion, drama and music.” But what if you are a newbie? We asked Leigh to answer a few questions about how to make the most of your CU Opera experience.

What is opera? It’s a venerable theatrical and musical art form in which singers and musicians perform a dramatic work that combines text—known as the libretto—and a musical score. Operas are sung, not spoken, and almost always performed in the language in which they were written, including Italian, German, French, Russian and English.

How will I understand what’s going on, especially if it’s in a foreign language? Your friends Google and YouTube are happy to help! You can find YouTube clips of arias—expressive moments when the singer is performing solo—songs and even entire performances of most traditional operas. It’s a great idea to read a synopsis online and the notes in your CU Presents program also offer great information. And CU Opera always provides a crib sheet, projecting supertitles in English for operas sung in another language.

Do you really have to dress to the nines when you go to the opera? It’s always fun to dress up. But hey, this is Boulder. You can wear tails and a top hat, pearls and a gown, jeans and a sweater or flip-flops and t-shirt—pretty much anything you like, though earmuffs or dark glasses will detract from your experience.

What should I listen for during the performance? First, pay attention to the overture—the musical number played by the orchestra to start the show often follows the emotional arc of the story—doom or joy, celebration or mourning—and is layered with themes and passages from the larger work. Singers, too, color and weight their voices to reflect mood and emotion. Listen carefully and you’ll be amazed to hear dark and light, good and evil, woe and happiness, just from the way they color their voices.

OK, I have to ask: What’s the story with the buxom lady wearing horns and braids? Oh, her? That’s just Brünnhilde, one of the Norse Valkyries in Wagner’s famous German opera, The Ring of the Nibelung. Besides being played by Bugs Bunny in the famous cartoon, What’s Opera, Doc?, she sings the long, final aria and has become inextricably linked with the art form for many nonaficionados. But don’t expect to see her at CU Opera … unless we’re doing Wagner!

CU Opera will perform Gilbert and Sullivan’s classic comic operetta, The Pirates of Penzance, Oct. 24-26 at Macky Auditorium. For tickets and information, go to cupresents.org or call the box office at 303-492-8008.

—Leigh Holman, director of CU Opera

CU Theatre & Dance

2014–2015 Season

cupresents.org 303-492-8008

Season tickets on sale now!

University Theatre Series Our Town by Thornton Wilder (Sept. 26 - Oct. 5) A Broadway Christmas Carol by Kathy Feininger (Dec. 4 - 21) Tartuffe by Molière (Feb. 13 - 22) Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice (April 10 - 19) Irey Dance Theatre [UN] W.R.A.P.: Undoing Writing, Research and Performance (Sept. 12-13) The D.A.M. Show: Dance Art Media (Oct. 17-19) Liminal (Nov. 14-16) Catapult (Feb. 13-15) The Current (April 17-19)

Single tickets start at $12

For full events listing: colorado.edu/theatredance

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Personnel

COLLEGE OF MUSIC ADVISORY BOARD Robert Shay, Dean James R. Austin Chris Brauchli Steve Bruns Bob Bunting Jan Burton John Davis Paul Eklund Bill wElliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree Hickman David Hummer Daryl James Caryl Kassoy Robert Korenblat Erma Mantey Joe Negler Susan Olenwine Mikhy Ritter, co-chair Becky Roser, co-chair Mark Tezak Jeannie Thompson Jack Walker HONORARY DIRECTORS Dean Boal Bob Charles Eileen Cline Donna Erismann Dave Grusin

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| cupresents.org

CU Presents offers the very best in the performing arts on the CU-Boulder campus, including the Artist Series, Colorado Shakespeare Festival, CU Opera, the Takács Quartet, CU Theatre & Dance and the Holiday Festival.

Joan McLean Braun, Executive Director Nick Vocatura, Operations Director Laima Haley, Marketing Director Clay Evans, Communications Director Daniel C. Leonard, Marketing and Public Relations Coordinator Karen Schuster, Graphic Designer Rachel Dodson, Emily Scraggs, Colin Wichman, Public Relations Assistants Stephanie Doctor, Programs Assistant Margaret Romero, Production Assistant Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Coordinator Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Financial Manager Ted Mulcahey, Piano Technician MACKY AUDITORIUM STAFF Rudy Betancourt, Director Sara Krumwiede, Assistant Director John Jungerberg, Operations Manager JP Osnes, Technical Director Rojana Savoye, House Manager Program editor: Clay Evans Cover design: Karen Schuster

PATRON INFORMATION • CU Presents venues are fully accessible to patrons using wheelchairs and those with other special needs. Please call the box office as early as possible at 303-492-8008 to make arrangements.

• Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information please call the box office at 303-492-8008.

• Food is permitted in seating areas of Macky Auditorium and the Mary Rippon Outdoor Theatre, but prohibited in other campus venues unless otherwise noted.

• Photographic and recording devices are prohibited.

• All programs, artists and prices are subject to change.

• All sales are final. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply.

• CU presents will hold all events as scheduled unless the CU-Boulder campus is closed due to hazardous weather.

We will make every effort to notify patrons of an emergency closure. For detailed information on the Colorado Shakespeare Festival’s rain policy, please visit coloradoshakes.org.

• Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children.

• Patrons are encouraged to refrain from wearing strong fragrances.

• Can’t use your tickets? Return them to the CU Presents box office as a tax-deductible contribution prior to the beginning of the performance.

• The University of Colorado Boulder is a smoke-free campus.

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