CU Presents Magazine Symphony Fall 2013

music

experience the

CU Symphony Orchestra 2013–2014 Season

Global performance. World-class entertainment.

You have to be here.

BOULDER BALLET & the BOULDER PHILHARMONIC ORCHESTRA present

A whimsical delight for the entire family!

November 29 through December 1 Macky Auditorium, CU campus

Get your tickets today!

Box Office: 303.449.1343 or online: boulderballet.org Melissa Heslep. Photo by Sue Daniels

Don’t miss Aaron Copland’s A P P A L A C H I A N S P R I N G November 2 at 7:30 PM!

w E C R E at E u n i q u E O u t d O O R l i v i n g s pa C E s F O R y O u R d R E a m g a R d E n . . .

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From the Executive Director

Table of Contents

CU Presents Staff

6

CU Presents Ticket Policy

6

Theatre/Dance Season

8

Program

P 1-4

Faculty Tuesdays

22

Artist Series Donors

24

Takács Quartet Donors

26

CU Opera Donors

28

Upcoming AS Presentations

30

CU Opera

32

CU Presents Season

34

College of Music Advisory Board

Welcome to the 2013-2014 season of CU Presents. As always we have a diverse lineup of world-class entertainment, including the world-renowned guests of the Artist Series, the return of the beloved opera La Bohème, stunning symphonic works, masterful chamber music performances, intriguing theater and dance productions and more.

This year also marks the exciting debut of our new, unified ticketing system for the performing arts at CU Boulder, which brings together the Artist Series, Colorado Shakespeare Festival, Takács Quartet, Holiday Festival, CU Opera, College of Music and Theatre & Dance productions under the auspices of CU Presents. Lovers of the performing arts now have an easyto-use, one-stop way to discover all these inspiring programs and order tickets.

The box office, located just inside the west entrance of the University Club building at the intersection of Euclid Avenue and Broadway on the CU-Boulder campus, is open from 10 a.m. to 5 p.m. Monday through Friday. Metered parking is available on the street or in the Euclid Avenue Autopark. You may also purchase tickets by calling 303-493-8008 or online at cupresents.org. If you have questions, please don’t hesitate to ask or send us an email at cupresents@colorado.edu.

Our goal at CU Presents is to share the joy of diverse, thought-provoking, entertaining and outstanding experiences with the CU, Boulder and broader Colorado communities. We want to thank you for helping us make this possible and invite you to join us for many memorable experiences throughout the coming year.

CU Presents: Global performance.

World-class entertainment.

You have to be here.

Warm regards,

Joan McLean Braun Executive Director

James Austin, Interim Dean Christopher Brauchli Robert F. Bunting Jan Burton Coleen Conant Martha Coffin Evans Tyler M. Forman Jonathan R. Fox David W. Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree D. Hickman Suzanne A. Hoover David G. Hummer Daryl K. James Gary S. Joiner Caryl F. Kassoy Robert Korenblat Thurston E. Manning Erma M. Mantey Joseph T. Negler Susan J. Olenwine Michele Ritter Rebecca J. Roser Steven K. Taniguchi Jeannie Thompson Jack Walker ADVERTISING INFORMATION This program is produced for CU Presents

by The Publishing House, a division of Colorado Word Works, Inc. Angie Flachman Johnson, Publisher Annette Allen, Art Director and Production Coordinator Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President For advertising information, call 303-428-9529 7380 Lowell Blvd., Westminster, CO 80030 www.coloradoartspubs.com

Everyone has a voice.

Shouldn’t yours be heard?

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As one of only a few specialists in the Western region who performs minimally invasive office procedures, balloon sinuplasty, and laser surgery, Dr. King is always willing to take the time to explain options to help you decide what treatment is right for you.

J. Michael King, MD Services and treatments include• Minimally invasive office procedures of the throat and sinuses • Laser surgery of the vocal cords • Treatments for pre-cancerous lesions or early throat cancers • Microsurgery for vocal cord polyps or cysts • Botox injections for spasmodic dysphonia • Voice restoration for vocal cord paralysis • Esophagoscopy and evaluation for reflux Offices in Broomfield & Golden 403 Summit Blvd., Suite 204 1030 Johnson Road, Suite 350 Broomfield, CO 80021 Golden, CO 80401

Conveniently located in Broomfield & Golden • 720-401-2139 • PeakENTandVoiceCenter.com

| www.cupresents.org

17 th St.

N

18

University Ave.

th St .

MACKY

Lot 380

Pleasant St. University Theatre Hellems Arts and Science

Education

MACKY AUDITORIUM STAFF Rudy Betancourt, Director Angela Venturo, Associate Director J. P. Osnes, Technical Director Rojana Savoye, House Manager Chelsea Ayers, Assistant House Manager

Event Lot

bike path

Joan McLean Braun, Executive Director Clay Evans, Public Relations Director Laima Haley, Marketing Director Myra Jackson, Programs and Scheduling Manager Nick Vocatura, Operations Director Daniel C. Leonard, Marketing and Public Relations Coordinator Karen Schuster, Graphic Designer Courtney Pomeroy, Public Relations Assistant Emily Scraggs, Public Relations Assistant Stephanie Doctor, Programs and Scheduling Assistant Andrew Metzroth, Box Office Manager Katrina DeVore, Box Office Services Coordinator Sydney Bogatz, Ciara Glasheen-Artem, Starla Doyal, Christine Herwig, Lucas Munce, Harper Nelson, Kayla Pinney, Melanie Shaffer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Accounting Technician Ted Mulcahey, Piano Technician

University Theatre Loft Theatre Acting Studio Irey York Theatre

Colorado Avenue

ATLAS

UMC

Mary Rippon Theatre

Euclid Avenue Autopark

Imig Music Building

Lot

Euclid

2 0 4

UNIVERSITY CLUB (Box Office)

Br

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dw

18th St.

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Grusin Music Hall Chamber Hall Music Theatre

Lot 310

Program Book Editor/Designer: Myra Jackson • Cover Design: Karen Schuster PATRON INFORMATION

• The venues of CU Presents are fully accessible to patrons in wheelchairs and to those with other special needs and for their companions. Patrons needing accommodations for a disability should call the box office as early as possible at 303-492-8008.

Macky Auditorium (2000 Music Theatre

• Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 at a cost of $4 per evening or weekend day. Lot 380 (near Macky) is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues.

Center

Right Row L

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• Food and beverages are prohibited in the seating areas of all theaters.

• Photographic and recording devices are prohibited.

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Mary MARY Rippon RIPPON OUTDOOR THEATRE Outdoor Theatre STAGE (1000 seats)

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Dress Circle Orchestra Upper Circle

University University Theatre Stage Theatre

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| | | |4 W | W 1 | | | | | | | | | | | 6| 5| 4 | | | 3| 2 | | |1 | | | | | | | | | | | | | | | |6 | 5| 4 | | | | 3| 2 | | | | | | | | |1 | | | | | | | | | | 6| 5 | | | | 4| 3 | | | 2| 1 | | | | | | | | | | | | | | | | | 6| 5 | | | 4| 3 | | | 2| | | | | | | | | | | | | | | | 1 | | 6| 5 | | | 4| 3 | | | | | | | | | | | | | 2| | | | |6 1 | | | |5 4 | | | 3| | | | | | | | | | | | 2 | |6 | | | |1 | | |5 4 | | | | | | | | | | | | 3| | | | 2 | | | |1 | | |5 4 | | | 3| | | | | | | | | | 2 | | | | | |1 | | |5 | | 4 | 3| | | 2 |1 | 10

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

Music Theatre (250 seats)

Grusin Music Hall (500 seats)

7

• Can’t use your tickets? Turn your tickets back to the CU Presents Box Office as a tax deductible contribution prior to the beginning of the performance.

Row A

Left

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

Row A

Center Stage

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

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

Row A

Right

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8 |

| www.cupresents.org

TICKETS NOW ON SALE colorado.edu/theatredance

Dance

Full season available online

| 303-492-8008 | 9

Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community.

We’re proud to sponsor the University of Colorado College of Music.

For subscription information call 303.444.3444 or visit DailyCamera.com.

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Every Journey Begins with a Single Step.

Every gift makes a big difference!

Our concerts and productions depend on private donations from audience members like you. We encourage you to use the envelope in the center of this program to make a gift that will help us continue to bring global performance and world class entertainment to Boulder!

Simply give your envelope to an usher or mail it back to us. Donations can also be made online at cupresents.org or by calling 303-735-6070.

Thank-you for your support!

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UNIVERSITY SYMPHONY ORCHESTRA GARY LEWIS, conductor with JEREMY DENK, piano PROGRAM Overture to The Magic Flute, K. 620

Wolfgang Amadeus Mozart (1756-1791)

Piano Concerto No. 1 in E-flat Major, S124 Allegro maestoso Quasi Adagio Allegretto vivace. Allegro animato Allegro marziale animato Jeremy Denk, piano

Franz Liszt (1811-1886)

Intermission Symphony No. 2 in E Minor, Op. 27 Largo - Allegro moderato Allegro molto Adagio Allegro vivace

Sergei Rachmaninoff (1873-1943)

UNIVERSITY SYMPHONY ORCHESTRA with JEREMY DENK, piano, September 27, 2013

| 303-492-8008 | C-1

UNIVERSITY SYMPHONY ORCHESTRA with JEREMY DENK, piano, September 27, 2013

C-2 |

Overture to The Magic Flute

| 303-492-8008

PROGRAM NOTES

Wolfgang Amadeus Mozart

Mozart’s life began with unlimited possibility and ended in utter tragedy, and one can look at his final year, 1791, in the same light. Despite all of the frustrations he’d endured during his decade in Vienna, where fickle music-lovers turned away from him and embraced the flavor of the month, he had every reason to feel optimistic about things as the year unfolded. Yes, he had accumulated unpayable debts—but Prague had cheered Le Nozze di Figaro and Don Giovanni (the latter premiered in that Czech city).

He had happily agreed to another opera commission for Prague: La Clemenza di Tito. In Vienna, it appeared he was in line to accept the coveted music directorship of St. Stephen’s Cathedral during the following year. England had convinced him to return for a potentially lucrative tour. In the midst of all that came commissions for new works (including the legendary request for a Requiem).

And then, there was the offer from Mozart’s dear friend, theater owner Emanuel Schickaneder, to collaborate on a comic opera. Schickaneder had given Mozart’s family free admission to his Theater-auf-der-Wieden in 1789, and the composer responded with music for two productions there, Thamos and Zaïde. The theater had attracted an enthusiastic audience for earthy, Germanlanguage entertainment that thumbed its nose at snooty Italian operas (which, of course, Mozart had also created).

Schickaneder suggested Die Zauberflöte, a story drawn from a collection of Oriental fairy tales. A mixture of music and spoken dialogue (known as Singspiel), this would be a work of fantasy, love, silliness and more than a touch of Freemasonry philosophy (Mozart and Schickaneder were both followers). Mozart jumped at the offer, naively agreeing to accept fees from future stagings in place of a cash advance, much to the disapproval of the composer’s wife (Schickaneder later reneged, prompting a protracted legal battle with Mozart’s widow). The storyline of The Magic Flute is too cumbersome to describe here—and, in any case, the remarkable Overture has little connection to the plot. Aside from those three ominous opening chords (three was an important number for the Freemasons), none of the tunes appear in the opera. Instead, we hear Mozart music at its most inspired and joyous: The solemn introduction leads into a dizzying theme introduced in fugue-like fashion that momentarily halts midway through.

Those three imposing chords appear again, before the musical romp returns. Despite its curious plot twists and cast of exotic characters (with Schickaneder singing the comical bird-catcher Papageno at the premiere), Magic Flute was an instant hit when it was unveiled in September, 1791. By the early 1800s, it was being staged in opera houses everywhere. Mozart, alas, would not be around to enjoy its success: He died a few weeks after the premiere.

Piano Concerto No. 1 in E-flat

Franz Liszt

Liszt could be a figure invented by Hollywood—dashing, handsome, charismatic and unnaturally talented. A pianist possessing supreme, almost demonic ability with an ego to match (he reportedly had numerous love affairs with women of high standing), Liszt never married and chose the priesthood in later years as penance for a life well-lived. You can’t make up stuff like that. But it was all true. His view of music also emerged with unstoppable

energy and self-confidence. Boldly dismissing the “oldfashioned” compositions being written then by Schumann, Mendelssohn and Brahms, Liszt embraced the new world of Richard Wagner, in which traditional chord progressions and familiar formulas were banished. Instead, music would travel in unpredictable ways and with greater power and passion. Even the long-standing form of the concerto could be toyed with. Liszt’s two piano concertos were begun in 1839, the E-flat completed a full ten years later— with help on the orchestration from Joachim Raff. In this first Concerto, premiered in 1855 with Berlioz conducting, Liszt tossed aside the usual three-movement format, expanding to four linked-together sections. In another innovation, themes introduced early on re-appear later, creating a cyclical form that would also be utilized in his second concerto. Here, the explosive unison theme in the opening, a stern dialogue between orchestra and piano, pops up again near the end of the work. As Liszt had declared when discussing the attributes of a concerto, the E-flat is “clear in sense, brilliant in expression and grand in style.” Like so much of his approach to music and life, he elicited public responses ranging from admiration and awe to downright disgust, collecting enemies with his uncompromising arrogance. Liszt was the first to brazenly present full evenings of his solo music—critics scoffed when he coined a term for them: “recitals.” Many objected, as well, to his flamboyant flights of mind-numbing virtuosity. They railed against this concerto, particularly its surprising use of the triangle. Eduard Hanslick, an influential critic and ally of Brahms, mockingly called the piece a Triangle Concerto. Liszt, incidentally, instructed that “the triangle is here not to be beaten clumsily, but in a delicately rhythmical manner with resonant precision.”

So there! Hanslick was not alone in his dislike: In 1868, a Boston critic described this music as “incoherent, uninspiring (and) frosty to the finer instincts.” It didn’t take long, however, for audiences to grow accustomed to the bigger-than-life dimensions of piano concertos (the modern instrument, it should be noted, was now better able to handle all that furious pounding). By the early 1900s, the E-flat Concerto had become as inescapable as those of Tchaikovsky, Brahms and Beethoven. In his day, Liszt had amazed his listeners with an unprecedented virtuosity (proper ladies in attendance were prone to fainting spells). These days, brilliant concert and recorded performances of his music are common. That said, watching a keyboard virtuoso attack this mind-boggling concerto remains as awe-inspiring today as it must have been 160 years ago, when the dashing Franz Liszt drove the ladies and the critics mad.

Symphony No. 2 in E Minor

Sergei Rachmaninoff

Stravinsky once referred to the lanky Rachmaninoff as “a six-and-a-half-foot scowl.” A playful description perhaps, since, despite his imposing countenance, Rachmaninoff was a warm and sociable fellow. Stravinsky’s description certainly can’t be supported by the love-drenched romanticism of the Second Symphony. This is music that exudes an all-embracing love, containing hardly a drop of darkness or cynical thoughts, so common in Russian music. No one would have blamed the composer for dipping into those emotions, considering the results of his first attempt at writing a symphony.

The premiere of that work in 1897 was a humiliating disaster. Rachmaninoff called it “the most agonizing hour

of my life.” The conductor, Alexander Glazunov, was reportedly drunk and unprepared. Critics in attendance were merciless (one suggested that the piece came from a conservatory in hell). Rachmaninoff was so depressed that he couldn’t write a note of music for three years.

So, what broke the spell? Dr. Nicolai Dahl, that’s what. In 1900 (ah, the freshness of a new century!), the composer visited Dr. Dahl, a respected hypnotherapist, who guided Rachmaninoff into a relaxed state where he could find his creative spark. It’s a story often told, because it led to the creation of the immortal Second Piano Concerto (which was dedicated to Dr. Dahl). That breakthrough also resulted in a new, steady stream of music: piano pieces, a cello sonata, songs, two operas, etc. Triumph followed triumph, but perhaps the most satisfying of all was the heralded premiere of the Second Symphony. Still, that one didn’t come easily. In the years following his recovery from depression, Rachmaninoff had steadily built an international reputation as an extraordinary pianist and conductor. But the need to write a symphony continued to gnaw at him. To escape the curse of that terrible concert of 1897, Rachmaninoff and his family left Russia and settled in Dresden, where work was undertaken in secrecy. Word got out, however, causing him to reluctantly acknowledge the rumors: “I have composed a symphony.

It’s true! I finished it a month ago and immediately put it aside. It was a severe worry to me and I am not going

to think about it anymore.” The work was premiered in St. Petersburg in January, 1908 with the composer conducting, and it was a hit, quickly making the rounds of the world’s concert halls. While it was universally praised, the Second Symphony was often judged too long and meandering in spots, causing conductors to make cuts in the score. Only in recent years has the work returned to its original state.

Memorable tunes, sweeping episodes, grand climaxes and shimmering orchestration can be found on nearly every page. The opening movement is laid out on a huge scale, through a dramatic series of ebbs and flows—not to mention snippets of melodic material that will appear elsewhere.

An energetic second movement bristles with new-found energy, serving as a perfect set-up for the sheer loveliness of the Adagio. Here, a brief opening song from the violins (which inspired Eric Carmen’s ’70s hit, “Never Gonna Fall in Love Again”) leads to a plaintive melody from the clarinet that seems the embodiment of love in all its glory. The robust finale once again presents an expansive theme by the strings—interrupted by the unexpected reprise of the Adagio’s love theme. As is heard in many of his works, the Symphony’s final bar proudly shouts out the composer’s signature, a unison statement of that deliciously rhythmic name—Rachmaninoff!

—MARC SHULGOLD

JEREMY DENK “Mr. Denk, clearly, is a pianist you want to hear no matter what he performs, in whatever combination—both for his penetrating intellectual engagement with the music and for the generosity of his playing.“ – The New York Times Jeremy Denk has established himself as one of America’s most thought-provoking, multi-faceted, and compelling artists. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London. He regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States. This season includes a return to Carnegie Hall in recital, as part of a 13-city tour of the U.S., as well as a performance of Bach’s complete set of six keyboard concertos in a single evening with the Chamber Music Society of Lincoln Center. Upcoming engagements include tours with the Australian Chamber Orchestra, the San Francisco Symphony, and the Academy of St. Martin in the Fields.

Denk is known for his original and insightful writing on music, praised by Alex Ross for its “arresting sensitivity and wit.” Denk’s writing has appeared in the New Yorker, New Republic, and on the front page of the New York Times Book Review. His website “think denk,” recounting his experiences of touring, performing, and practicing, was recently selected for inclusion in the Library of Congress Web Archives. Denk looks forward to performing and curating as music director of the 2014 Ojai Music Festival, for which he is also composing the libretto to a semi-satirical opera.

In 2012, Denk made his debut as a Nonesuch Records artist with a pairing of masterpieces old and new: Beethoven’s final piano sonata and selected György Ligeti Etudes. The disc was named one of the best discs of 2012 by the New Yorker, NPR, and the Washington Post. Later this year, Denk will release a recording of Bach’s Goldberg Variations. He has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two Piano Sonatas was selected for many “best of the year” lists. Last season, Denk was invited by Michael Tilson Thomas to appear as a soloist in the San Francisco Symphony’s “American Mavericks” festival, and he recorded Henry Cowell’s piano concerto with the orchestra.

He has cultivated relationships with many living composers, and has several commissioning projects currently in progress.

Denk has toured frequently with violinist Joshua Bell, and their album French Impressions was recently released on the Sony Classical label, winning the 2012 Echo Klassik award. He also regularly collaborates with cellist Steven Isserlis. He has appeared at numerous festivals, including the Italian and American Spoleto Festivals, and the Santa Fe Chamber Music, Verbier, Ravinia, Tanglewood, Aspen, and “Mostly Mozart” Festivals. He lives in New York City, and his web site and blog are at jeremydenk.net. ©

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UNIVERSITY SYMPHONY ORCHESTRA with JEREMY DENK, piano, September 27, 2013

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UNIVERSITY SYMPHONY ORCHESTRA with JEREMY DENK, piano, September 27, 2013

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UNIVERSITY SYMPHONY ORCHESTRA (alphabetical) Violin Callie Brennan JiHye Chung Ryan Cockman Sarah Cranor Morgan Denney Karlie Denos Matthew Farquharson Nina Fronjian Alejandro GomezGuillen Danielle Heath Leslie Heinzen + Luke Hill Esther Hou Melanie Huskey Marisa Ishikawa Emily Lenck Pearce Littler Summer Lusk* Cameron May Julie Nelson Brookes Pennell Lauren Pokorzynski

Krystian Salva Crystal Schneckenburger Jennifer Shea Hannah Smith Austin Stevens Haynn Tang Tracy Viator Brittany Ware T. J. Wessel Viola Emma Carpenter Bergen Christensen Laura Eakman Dan Fellows Alexsa Kuzma Cassandra Mueller Mercedes Quintana Lacie Savage Conrad Sclar Lauren Spaulding Ann Thomas Amy Tompkins*

Cello Aris Doike Robert Erhard Ethan Fallis Ryan Farris Madeline Harder Avery Johnson Megan Knapp Trevor Minton Vela Mrdjen Greta Parks* Cecelia Swanson Double Bass Dante Ascarrunz Jessica Beal Coire Geare Megan Gore Ian Haegele Zach Hislop Tyler Honsel* Alex Jefferson Amanda Johnson

Gary Lewis is Director of Orchestral Studies and Professor of Music in the College of Music at the University of Colorado Boulder.

He is also the Music Director and Conductor of the Midland-Odessa (TX) Symphony Orchestra. At Colorado Mr. Lewis conducts the University Symphony Orchestra and oversees the entire orchestra program. He also leads the graduate program in orchestral conducting including both the masters and doctoral level. His graduate conducting students have enjoyed great success as conductors of university orchestra programs, youth orchestras, and professional orchestras alike. They have also won prestigious national conducting competitions and been awarded Fulbright grants.

Lewis received the Master of Music degree in conducting from Texas Tech University and the Bachelor of Music Education degree from The University of Oklahoma. His postgraduate work includes participation in the Pierre Monteux School for Orchestral Conductors and the Tanglewood Conducting Seminar. He has served on the faculties of Texas Tech University, The Ohio State University, The University of Michigan, and Abilene Christian University.

Flute Rachelle Crowell Cobus du Toit Joshua Hall Leanne Hampton Valerie Johnson Jana Lange Michael Moy Andrea Murano Katy Wherry Oboe Olivia Erwin Ciara Glasheen Kelly Smestad Taylor Welshimer Abby Yeakle Clarinet Peter Bauer Jacob Beeman Cacob Eichhorn Junkai Lai Michael Moy Madison Munn Jennifer O’Shaughnessy Kellan Toohey

Bassoon Cameron Burnes Michelle Gafney Kristen Goguen Yahaira Nieves

Trombone Nathan Gonzales Mark Hsieh Will Shaw Daniel Twentey

Horn Christian Buller Rebecca Fathman Angela Fiorini John Geiger Shannon Hagan Taryn Lee Kathrine Smith Jonathan Spoon

Tuba Garrett Karlin

Trumpet Carrie Blosser Brianne Borden Alex Caselman Julianna Chairez Casey Lawson Matthew Smith

Harp Kathryn Harms

Percussion Todd Bills Jacob Bori Antuon Lopez Seth Miller Derek Sawyer

Piano Christina Lalog

Mr. Lewis is equally at home with professional, university, and youth ensembles. In addition to his regular position with the Midland-Odessa Symphony Orchestra, he has conducted performances with the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), the Western Plains Opera Theater, and the Lubbock Symphony Orchestra.

Lewis served as the Resident Conductor of the Pine Mountain Music Festival (opera and symphonic) for seven years and was the founding conductor of the Caprock Pro Musica.

He has frequently worked with university ensembles, conducting performances and leading master classes with such prestigious programs as the Eastman School of Music, Florida State University, Oberlin Conservatory, the University of Texas, the University of Oklahoma, and the University of North Texas.

As a strong advocate of music education, Mr. Lewis has presented many in-service workshops for public school educators, as well as numerous presentations at state and regional music education association conferences. In addition, he continues to conduct All-State Orchestras, and other regional and honor ensembles throughout the country including a regular presence at the Interlochen Summer Arts Camp.

Mr. Lewis is a strong proponent of new music. He has been instrumental in the development and production of contemporary music festivals and his interest in new music has led him to collaborations with composers such as George Crumb, William Bolcom, John Harbison, Chen Yi, Michael Daugherty, Stephen Paulus, and many others.

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2013 Fall Faculty Tuesdays recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building. All performances are free and open to the public.

September 17: The program will feature ethnomusicologist/composer Dr. Brenda M. Romero and guests ethnomusicologist/performer Jay Keister and Mami Itasaka Keister, a Japanese dance specialist formally known as Miko Bando. Romero will begin with a brief lecture recital on early New Mexican folk songs on voice and guitar that will be followed by two short Japanese pieces featuring Keister and Miko Bando. The concert will end with a sampling of Dr. Romero’s formal compositions.

September 24: A FRENCH SOIRÉE: Hsing-ay Hsu, piano, will be joined by faculty colleagues Jennifer Bird-Arvidsson, soprano, Andrew Cooperstock, piano, and Charles Wetherbee, violin with piano solos

by Ravel including Scarbo and Debussy duets including songs from Recueil Vasnier, Violin Sonata, and Fêtes (4 hands).

October 1: Margaret McDonald, collaborative piano, will be joined by new voice faculty Abigail Nims, mezzo-soprano, Jennifer-Bird Arvidsson, soprano, visiting faculty artist Leone Buyse, flute, Charles Wetherbee, violin, and Judith Glyde, cello for an evening of works by female composers Fanny Mendelssohn-Hensel, Clara Schumann, and Mel Bonis followed by Mendelssohn’s popular Piano Trio in D Minor.

October 8: ECLECTIC INFLUENCES: Daphne Leong (piano), with John Gunther, saxophone, Patrick Sutton, guitar, Douglas Walter, marimba, Carl Dixon, marimba, and Michael Tetreault, percussion. A cutting-edge mix of avant-garde new music, jazz, and soul influences, this program features the world premiere of Clear Sounds among Hills and Waters for solo piano by Robert Morris, McDermott’s Smoke of Burning Cloves for marimba, and Andriessen’s Hout and Shende’s Throw Down or Shut Up! October 15: Abigail Nims, mezzo-soprano and Nicholas Carthy, piano. Welcome Abigail Nims to our voice facilty and to Boulder. She will be joined on the piano by Nicholas Carthy as they perform works

by Schumann, Poulenc, Ives, Ginastera, and Harbison.

October 22: FIDDLE FIESTA: Lina Bahn is the leader of the party of wonderful solo and duo violin music with guest colleagues Charles Wetherbee, Károly Schranz, and Edward Dusinberre.

October 29: AMERICAN SONGS: Patrick Mason, baritone will present the premiere of Robert Spillman’s song cycle The Branch Will Not Break: Nine Poems of James Wright with the composer at the piano.

Included in the program will be songs by Stephen Foster and Leonard Bernstein.

November 5: HORNS APLENTY: Join CU Associate Professor of Horn Michael Thornton and his colleagues from the Colorado Symphony Horn Section for an evening of music for horns.

Works will include the Schumann Konzertstücke for Four Horns, Mitushin Horn Quartet, and a featured performance of the William Buck Romanza for Four Horns, recently discovered in the American Music Research Center at the University of Colorado.

November 19: EN TIEMPO DE TANGO: Enjoy an evening of tangos and tango-inspired pieces with Alejandro Cremaschi and Trio Cordilleras, Beth Kipper, violin, Thomas Heinrich, cello. The program features a few classic tangos, and pieces by Piazzolla, Luis Jorge Gonzalez, Emilio Colon, Juan Maria Solare, Miguel del Aguila, Eduardo Alonso-Crespo and others.

December 3: EVENING LIGHT: Charles Wetherbee, violin, and David Korevaar will present a violin and piano duo recital featuring two rarely performed masterpieces, the Saint-Saëns D Minor Violin Sonata and the Dohnanyi Violin Sonata. Also included on the program is the Schubert Sonata in G Minor and 10 preludes by Shostakovich.

PRO MUSICA COLORADO CHAMBER ORCHESTRA CYNTHIA KATSARELIS, MUSIC DIRECTOR AND CONDUCTOR

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Epic Beethoven

November 22 & 23, 2013 Ludvig van Beethoven Symphony No. 7 Rodrigo and Daugherty Nicolo Spera, Guitar

Epic Mozart

January 31 & February 1, 2014 Mozart Symphony No. 40 in G Minor, K. 550 Beethoven Piano Concerto No. 4 in G Major Hsing-Ay Hsu, piano

Epic Seasons

April 4 & 5, 2014 Vivaldi 4 Seasons Piazolla The Four Seasons of Buenos Aires Lina Bahn, violinist

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ARTIST SERIES Mission Statement

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.

DONORS CONCERT SPONSORS Colorado Public Radio Daily Camera Mark H. Carson and Associates, P.C. Emerson Process/MicroMotion Hotel Boulderado Hurdle’s Jewelry Friends of the Artist Series James and Associates, LLC KUNC KUVO Roser Visiting Artist Fund Western States Arts Federation

PARTNER IN THE ARTS Boulder Weekly Woodsongs Flowers in Bloom Liquor Mart Sage and Savory

BENEFACTOR

Gregory Silvus and Melanie Miller

SPONSOR

Anonymous Dick and Diane Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch

PATRON

Mark and Margaret Carson Chris and Barbara Christoffersen Olivia Edwards Kahleen and Tony Flippo Suzanne and David Hoover Robert and Sandra McCalmon Corp sponsorship?????

SUPPORTER

Mark H. Carson

Roser Visiting Artist Fund

Thank you to the City and County of Broomfield and the 1st Bank Center for providing advertising space on their LED sign on US 36.

FRIENDS OF THE ARTIST SERIES

Scott Wiesner and Janet Ackermann Joan McLean Braun Michael and Carol Gallucci Myra Jackson Susan and Jon Lounsbury Heidi and Jerry Lynch Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Daniel and Boyce Sher Theodore and Ruth Smith Lawrence and Ann Brennan Thomas

CONTRIBUTOR

A Friend Gil and Nancy Berman Ellen and Dean Boal Norma Ekstrand and Tom Campbell Charles and Martha Everill Judy Gould Kathryn Keller and William Wedum Gregory and Gladeane Lefferdink Harold and Joan Leinbach Jeff and Janet Martin Judy and Alan Megibow Sally Powell-Ashby amd John Ashby Elizabeth Rauch Luana and Paul Rubin Douglas Taylor Center Copy Boulder, Inc.

MEMBER David Beausang Geraldine Boone Chris and Margot Brauchli Otto and Ruth Buhler Pauline and Noel Clark Paul Cohen Sandra and Lawrence Cohn Terry and Colleen Conant Sylvia and Burt Darmour Douglas and Rita Dart Kenneth and Sally Dell Germaine Eagleton Fran Evans Leslie and Merrill Glustrom Jo and David Hill Larry and Barbara Jones Isabel Lee Julia Lee Judah and Alice Levine Kay and Paul McCormick Robert and Marilyn Peltzer Kim and Richard Plumridge Randall Kenneth Rutsch Mary and Andrew Skumanich Courtland and Carolyn Spicer Zoe Stivers Ellen and Adam Tschida Vince and Caroline Wayland

ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo J. Betancourt Ellen T. Boal Joan McLean Braun John S. Davis Diane Dunn Michael A. Gallucci Lissy Garrson Laima G. Haley Daryl K. James, President Maryan K. Jaross Ruth C. Kahn Kathryn S. Keller Jerry C. M. Orten Louise Pearson Gregory L. Silvus Ellen Taxman Nicholas J. Vocatura

FOUNDATIONS AND MATCHING GIFTS Janet E. Ackermann and Scott R. Wiesner Charitable Fund Paul Bechtner Foundation Carson-Pfafflin Family Foundation A. G. Edwards & Sons, Inc. National Endowment for the Arts Newton Family Fund Western States Arts Federation Tour West Polk Family Charitable Fund George F. Reynolds Endowment Scripps Company Make all gifts payable to the University of Colorado Foundation and mail to ARTIST SERIES, 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.

Ars Nova Singers 28th Season _ Connections ^ 2013-2014

The Violin and the Voice:

In Concert with Edward Dusinberre Ars Nova Singers welcomes the first violinist of the Takacs Quartet in a special one-night-only collaboration at Macky Auditorium. Join us for this rare opportunity to hear one of the great violinists of our time, performing with Ars Nova Singers in contemporary works by Knut Nystedt, Rudi Tas, and Reed Criddle, as well as Edward’s first Boulder performance of the famous Chaconne (from Partita No. 2 in D minor) by Johann Sebastian Bach.

Saturday, February 8, 2014, 7:30pm Macky Auditorium, Boulder

Tickets: $35 / $25 / $15, available at macky.colorado.edu

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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.

ENDOWMENT GIFTS

MEMBER

Takács Scholarship in Memory of Fay Shwayder Duncan Campbell Harry Campbell Margaret and Edward Campbell Norma Johnson Judith and Gary Judd Jonathan Zeschin, Essential Advisors

Lois Abbott Neil and Marcia Geissinger Ashby Maria and Jesse Aweida Harold and Ingrid Becher Kevin and Diana Bunnell Patricia Butler Noel and Pauline Clark Richard Collins and Judith Reid Helen Corbett Charlotte Corbridge Clara Deser Barbara and Carl Diehl Carolyn and Don Etter Jean and Bob Fischer Lloyd and Mary Gelaman Dianne and Kenneth Hacett Richard and Catharine Harris Russell and Ann Hayes Bruce and Kyongguen Johnson Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Caroline Malde John and Nancy Malville J. Richard and Marjorie McIntosh Josef and Sara Michl Sandra Moriarty Sue and James Palmer Faith and Roy Pterson Antonia and Timothy Piwonka-Corle Arthur and Ina Rifkin Joanna and Mark Rosenblum Ruth Shanberge In Memory of Karen McMurray Mary and Andrew Skumanich Todd and Gretchen Sliker Jan and Charles Squier Shirley and Mark Steele Berkley Tague Betty Lou Thacker Mary and Peter Van Etten Betty Van Zandt Christopher and Leanne Walther Rita and Lawrence Weiss Jim and Nurit Wolf Bill Woo

BENEFACTOR

Albert and Nancy Boggess Chris and Barbara Christoffersen Norma Johnson Gary and Judith Judd

SPONSOR Janet and David Robertson The Takács Quartet Marion Thurnauer and Alexander Trifunac

PATRON

Thomas and Carol Cech Carol Lena Kovner Thurston Manning

SUPPORTER

Anne Heinz and Ran Yaron Patricia and William Johnson Robert Kehoe Walter and Eileen Kintsch Ray and Margot LaPanse Newton Family Fund, Inc. Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter Lawrence and Ann Brennan Thomas

CONTRIBUTOR Stanley and Virginia Boucher William and Alice Bradley Christopher and Margot Brauchli Pamela and Barry Gatz Harold and Joan Leinbach Paul and Nancy Levitt Patricia and Robert Lisensky Annyce Mayer Lise Menn Patricia Thompson Alice Dodge Wallace

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.

GRUSIN MUSIC HALL CHAIR PURCHASES Jane Byers Charles (Chuck) Byers Frances Dahlberg Madeline Day Madeline Mahr Day Patsy Lynch Wood L. E. Gatterer Larry Gatterer Charlene Gatterer Lloyd and Mary Gelman Doree Hickman Doree Hickman Jerry Hickman George Lichter George Lichter Family Alice and Judah Levine In Memory of Joyce Gellhorn Maxine Mark In Memory of Thomas R. Mark Maxine Mark Kris McCusker In Memory of Phyllis Sweetland McCusker Lise Menn Valorie Mooney Valorie Mooney William Mooney Mutsumi Moteki In Memory of Hugh and Juanita Kirtley Rebecca Roser In Memory of Pearl and Mel Pedgrift In Honor of Professor David Korevaar Edith Stevens In Memory of Richard C. McLean Theory Department In Honor of Dean Daniel Sher Travis Vardell Kenneth A. Vardell

Chair named In Memory of Joyce Gellhorn Anonymous Linda Boley Alice and William Bradley Ted Engelmann Arthur and Madeline Estin Janice Harvey Jennifer Kamper Jane and Roger Larson Alice Levine Ruby Marr Judi Oser Julie Phillips Barbara Roach Margie Warsavage

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

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We offer full line of Kawai accoustic and digital pianos, German hand-made Schimmel pianos, Yamaha Clavinova and Arius digital pianos and their new hybrid Avant Grands aas well as a current selection of over 50 rebuilt/reconditioned pianos in all shapes and sizes.

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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.

CORPORATE, FOUNDATIONS, AND ENDOWMENT SUPPORT Corporate and Foundation Support Academy Retirement Community Aetna Foundation, Inc. Blackhawk Trust Boulder Valley Rotary Club Colorado Academy of Lifelong Learning Denver Lyric Opera Guild Frasca Food & Wine JAS Ventures Polk Family Charitable Fund Louis and Harold Price Foundation The Schramm Foundation The following have permanent endowments established in recognition of CU Opera, its donors and its students.

Nancy and Ted Anderson Music Awards Daryl and Lauren Boyle Music Theater Scholarship Daryl and Lauren Boyle Voice Scholarship DeWitt and Billie Marie Brennan Memorial Music Scholarship Berton Coffin Graduate Scholarship in Voice Berton Coffin Fellowship Fund Viola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. Norblom Wilma and Perry Louis Cunningham Scholarship in Voice Barbara M. Doscher Scholarship Wallace F. Fiske Performance Awards Ann and Gordon Getty Foundation Dennis Jackson Opera Scholarship Dale R. Johnson Opera Scholarship Lacy CU Opera Endowment Ed and Kay McDowell Opera Endowment Claudia Boettcher Merthan Vocal Scholarship Trudi Mielziner Graduate Opera Scholarship Charlotte Orr Reid Memorial Vocal Scholarship Gregory Philip Ranno Excellence in Music Scholarship Anthony and Dorothy Riddle Lyric Theater Performance Prize William Earl Rose, Sr. Scholarship Fund Galen & Ada Belle Files Spencer Foundation Beth and Bill Suitts CU Opera Endowment Howard B. Waltz Music Scholarship Paula Marie and H. Rolan Zick Endowment

BENEFACTOR

CONTRIBUTOR

Allen Family Fund Bob Graham Louis and Harold Price Foundation Ann Oglesby and Denny Brown Galen & Ada Belle Spencer Foundation Academy Retirement Community The Schramm Foundation

A Friend Jason and Elizabeth Baldwin Colorado Academy of Lifelong Learning Jeanine Forman-Ham Lloyd and Mary Gelman Curtis and Mary Hill Harold and Joan Leinbach Robert and Patricia Meyers David and Ann Phillips Daniel and Boyce Sher Peter Wall

SPONSOR Denver Lyric Opera Guild

PATRON Eleanor Caulkins Chris and Barbara Christoffersen Betsy and Albert Hand Robert and Mikee Kapelke Rotary Club of Denver Foundation Alan and Martha Stormo

SUPPORTER Mark and Margaret Carson James and Sally Kneser Theodore and Ruth Smith Lawrence and Ann Brennan Thomas Elizabeth and George Ulbrick

MEMBER Judith Auer and George Lawrence James and Judith Bowers Allene Cash Wallace and Beryl Clark Stephen Dilts J. Michael Dorsey Walter and Mary-Ruth Duncan Ellen and John Gille Judy Gould Janet Hanley Barbara and John Hill Pam Jones and Mark Bianchi Susan and Albin Kolwicz Marion and Frank Kreith C. Nicholas and Mollie Lee In Memory of Waye B. Daniels Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce and Jeanette Mackenzie Janet and Scott Martin In Memory of Karen McMurry

Marian Matheson Byron and Catharine McCalmon Denise McCleary and Paul Von Behren Margaret Oakes Robert and Marilyn Peltzer Dennis Peterson Gail Promboin and Robert Burnham Alicia and Juan Rodriguez Andrew and Mary Skumanich Joyce Thurmer In Memory of Karen McMurry Richard and Caroline Van Pelt

VOCAL ADVISORY BOARD Lawrence H. Anderson Stephen Bruns Nicholas R. Carthy Martha Coffin Evans, chair Lissy Garrison Leigh K. Holman Glenny LeGendre Kathleen M. Ness Ann Oglesby Shirley J. Riggs Stephanie Rudy Julie Ann Silver Reed F. Williams

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CU OPERA

G

reat repertoire, lavish scenery, amazing voices, and outstanding value— these are the hallmarks of CU Opera. Director Leigh Holman and Music Director Nicholas Carthy bring you the best of classical and contemporary opera in three fascinating productions each season and in CU New Opera Workshop in the summer.

La Bohème (sung in Italian)

Hansel and Gretel (sung in English)

Side by Side by Sondheim (sung in English)

by Giacomo Puccini

by Engelbert Humperdinck

by Stephen Sondheim

Directed by guest artist Paolo Panizza

Humperdinck’s enchanting opera of the classic Grimm fairy tale follows two children into the forest, where they find a gingerbread house . . . and its hungry witch.

More than a revue of the incomparable Broadway composer’s work, Side by Side

by Sondheim features his bestknown tunes alongside narration exploring the context of each piece.

In the Latin Quarter of Paris, Rodolfo the idealistic poet falls in love with Mimi, a frail but resolute milliner. Around their tender love story, Puccini depicts the exuberant lives of struggling young artists, expressing joie de vivre, love, and ultimately heartbreak.

March 14, 7:30 p.m.

March 15, 7:30 p.m.

March 16, 2 p.m.

Macky Auditorium

April 24, 7:30 p.m.

April 25, 7:30 p.m.

April 26, 7:30 p.m.

April 27, 2 p.m.

Music Theatre

October 25, 7:30 p.m.

October 26, 7:30 p.m.

October 27, 2 p.m.

Macky Auditorium OPERA SCENES December 9, 7:30 p.m.

Music Theatre Free and open to the public

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