Cu Presents Magazine Takács Quartet Fall 2015, Sept. 20-21, 2015

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Dean Robert Shay: the College of Music Advantage ......................6Calendar ........................................8Takács Quartet: “music we adore”..........................10Cinderella (La Cenerentola): “a story of transcendence”.........12Faculty Tuesdays ........................20Artist Series donors .....................22Takács Quartet donors ...............26Eklund Opera donors ..................28Personnel lists .............................30

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Center for Energy and Environmental Security

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Discover what’s here. Institute of Arctic and Alpine Research (INSTAAR)

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2015-16 SEASON OF REMEMBRANCE

Mozart & Larry GrahamNovember 20 & 21, 2015

Shostakovich: DedicationJanuary 22 & 23, 2016

Mozart Requiem w/St. Martin’s Chamber Choir

April 8 & 9, 2016

Concerts at 7:30 pm, Pre-Concert Talks at 6:30 pmFridays at First Baptist Church of Denver

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Dean Robert Shay: the College of Music AdvantageChanges are afoot at CU-Boulder’s College of Music, thanks to the vision of its new leader.

Dean Robert Shay, a veteran music administrator with 15 years’ experience, began his tenure here in August 2014. “This is one of the great music schools in the country,” he says. “The excitement for this place is palpable.”

Shay is inspired by opportunities to strengthen and expand on the College of Music’s traditions of excellence. To achieve a common vision for the college among faculty, staff, students, alumni and supporters, he launched faculty-driven taskforces to delve more deeply into areas of improvement – from diversity, technology and identifying professional settings for students outside the classroom and abroad, to growing alumni engagement and positioning the college as a leader in national and international spheres of influence.

“Our greatest chance for success is to rally around a clear vision,” says Shay, who previously served as Director of the University of Missouri School of Music, and as Vice President for Academic Affairs and Dean of the Longy School of Music. “Buy-in builds momentum to accomplish what I call the College of Music advantage."

“The College of Music advantage is our edge—it's what sets us apart. At our core, we offer an amazingly rich, traditional education. But we also provide many layers of innovative and hands-on experiences that aren’t necessarily happening elsewhere.”

This year, Shay anticipates progress toward realizing the College of Music advantage, with a particular emphasis on alumni engagement and student diversity. “We want to ensure pathways to success for underrepresented students and well-qualified international students,” he says. “We want this to be a place without boundaries.”

In addition to his responsibilities as dean, Robert Shay continues his passion for teaching and research. Visit www.colorado.edu/music for more information about Shay’s previous faculty appointments, professional affiliations and published writings.

Shay earned a doctorate and a master’s degree in musicology from the University of North Carolina at Chapel Hill, a master’s in choral conducting from the New England Conservatory of Music and a bachelor’s degree in vocal performance from Wheaton College.

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Twyla Tharp 50th Anniversary Tour Sunday, Sept. 27, 2015, 7:30 p.m.Twyla Tharp Dance returns to Boulder for the first time since 1979 to celebrate the 50th anniversary of the choreographer’s incomparable career, featuring new works set to Bach, Henry Butler, Steven Bernstein and John Zorn.

SFJAZZ Collective, The Music of Michael JacksonFriday, Oct. 9, 2015, 7:30 p.m.The brilliant San Francisco-based ensemble takes the next step in its “transforming, expanding” tributes (New York Times) to pop and jazz legends—Coltrane, Monk, Stevie Wonder and others — with all-new originals and arrangements celebrating Michael Jackson.

Irish Chamber Orchestra, Gábor Takács-Nagy, conductorFriday, Nov. 6, 2015, 7:30 p.m.The “razor-sharp, fully-seasoned” Irish Chamber Orchestra (Chicago Tribune), returns to Boulder by popular demand, conducted by original Takács Quartet member Gábor Takács-Nagy and featuring internationally renowned cellist Istvan Vardai.

Soweto Gospel ChoirFriday, Dec. 11, 2015, 7:30 p.m.South Africa’s 24-voice Soweto Gospel Choir—“Nothing less than an international treasure” (JazzTimes)—will bring light and spirit to your holiday season with classic Christmas songs and moving African gospel.

DiavoloThursday, Jan. 21, 2016, 7:30 p.m.Equal parts Cirque de Soleil, brilliant choreography and “architecture in motion,” Diavolo turns death-defying dancers free in super-sized playground of wheels, bowls and walls in a unique display of kinetic drama.

BODYTRAFFICSunday, Feb. 14, 2016, 7:30 p.m.Drop gritty, contemporary New York and European choreographers into the fast-paced, freeway world of Los Angeles, sprinkle with energetic young talent, and you get the “super-fast, super-sexy, super-expressive intensity” (Dance View Times) of BODYTRAFFIC.

Rising Stars of The Metropolitan OperaTuesday, March 1, 2016, 7:30 p.m.The Met has launched the careers of opera greats Renée Fleming, Thomas Hampson and many others. Don’t miss this chance to hear the brightest new stars performing arias, duets and ensembles by the world’s greatest composers.

Indigo Girls with the CU Symphony OrchestraThursday, March 31, 2016, 7:30 p.m.Amy Ray and Emily Saliers, the platinum-selling duo Indigo Girls, enrich a stellar quarter-century career with a symphonic performance of their moving, melodic music, including such hits as "Closer to Fine" and "Land of Canaan."

Pablo Ziegler and Lara St. John, Piazzolla Central Park Concert ReduxFriday, April 15, 2016, 7:30 p.m.Composer-pianist Ziegler and violinist St. John perform beloved tunes from tango maestro Astor Piazzolla’s famous 1987 Central Park concert and originals by Ziegler, who takes the tango to heights “undreamed of by Piazzolla.” (Chicago Tribune)


Holiday Festival 2015Dec. 4-6, 2015A 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.

Cinderella (La Cenerentola), Sung in Italian with English surtitlesby Gioacchino RossiniOct. 23-25, 2015 First performed less than a year after the premiere of his enduring classic, "The Barber of Seville," Gioacchino Rossini’s "La Cenerentola" (Cinderella) was just as big a hit with audiences. Full of upbeat humor and containing some of Rossini’s greatest writing for solo voice and ensembles, the beloved story of a scullery-girl-turned-princess will appeal to audiences of all ages.

Dialogues of the Carmelites, Sung in Englishby Francis PoulencMarch 11-13, 2016Francis Poulenc’s dark, intense 1957 opera—based on the persecution of nuns at the convent at Campiegne during the French Revolution—fearlessly grapples with such timeless human emotions as fear, despair and faith. “As rich as a vintage port, the opera delivers a soft and melodic score that undulates with (dark) and complex themes … as tragically current as (they are) old.” (Metro Weekly)

The Tender Land, Sung in Englishby Aaron CoplandApril 21-24, 2016Copland was inspired to write his only full-length opera by the Depression-era photographs of Walker Evans and James Agee’s "Let Us Now Praise Famous Men." This classic tale of small-town America evokes everything from "The Grapes of Wrath" to "Our Town" and "Oklahoma!" “Copland in his Americana mode. … (A)n affecting, honest and musically elegant work … bustling rhythmic intensity and pungent chromatic bite.” (The New York Times)

The Takács QuartetThe Grammy Award-winning chamber quartet has been moving audiences and selling out concerts for three decades at CU-Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, “The Takács Quartet are matchless, their supreme artistry manifest at every level.”

The 2015-2016 series includes a bonus performance by the Takács' special invited guest, the Attacca Quartet.

Sunday, Sept. 20, 2015, 4:00 p.m.Monday, Sept. 21, 2015, 7:30 p.m.Sunday, Oct. 18, 2015, 4:00 p.m. (Attacca Quartet)Monday, Oct. 19, 2015, 7:30 p.m. (Attacca Quartet)Sunday, Nov. 8, 2015, 4:00 p.m.Monday, Nov. 9, 2015, 7:30 p.m.Sunday, Jan. 10, 2016, 4:00 p.m.Monday, Jan. 11, 2016, 7:30 p.m.Monday, Feb. 29, 2016, 7:30 p.m.Sunday, April 24, 2016, 4:00 p.m.Monday, April 25, 2016, 7:30 p.m.


Takács Quartet: “music we adore”The Grammy Award-winning Takács Quartet—in-residence at CU-Boulder and the first string quartet to be awarded the Wigmore Hall Medal—is gearing up for another characteristically virtuosic and musically gratifying season.

“We can’t wait to perform late Haydn and Shostakovich this fall,” says cellist András Fejer of Joseph Haydn’s String Quartet No. 3 in G minor, Op. 74, "The Rider," and Dmitri Shostakovich’s String Quartet No. 3 in F Major, Op. 73 to be performed in September—along with Antonín Dvořák’s String Quartet No.14 in A-flat Major, Op. 105, the last string quartet he composed. “Also in the first half of the season,

we’re including Brahms’ flowing and rhythmic String Quartet No. 3 in B-flat Major, Op. 67—another late work.

“This is music we adore. We love the process of returning to old favorites with renewed energy and expectations.”

Indeed, the quartet—in its 40th season—last performed Dvořák’s string quartet some 30 years ago. “It’s exhilarating to work with material that’s familiar in our hands, and reshape it into something new,” Fejer adds. “We already know the rip currents and potential pitfalls from both technical and musical perspectives. Hopefully, we’ve gained the wisdom to navigate these musical landscapes and more fully reveal the beauty that lies within.”

In addition to Brahms’ string quartet, the November program will include Joseph Haydn’s String Quartet No. 1 in C Major, Op. 74. Stay tuned for a surprise announcement from stage in November when the Takács Quartet will also present the premiere of a new work.

The chamber quartet performed some 80 concerts worldwide in the past year, coached and presented master classes in North America and Europe, and taught chamber music and individual lessons to students in Boulder.

Two sets of performances at the College of Music’s Grusin Music Hall are Sunday, Sept. 20 at 4 p.m. and Monday, Sept. 21 at 7:30 p.m.; and Sunday, Nov. 8 at 4 p.m. and Monday, Nov. 9 at 7:30 p.m. For tickets, visit cupresents.org or call 303-492-8008.

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Cinderella (La Cenerentola): “a story of transcendence”Equal parts humor, tenderness and philosophical exploration, Gioachino Rossini’s enduring classic has something for everyone.

“Right from the start, ‘Cinderella’ was a hit with audiences,” says Leigh Holman, Director of the Eklund Opera Program. “It’s hilarious, truly a comedy. But unlike the Disney version, it’s also more grounded and realistic.

“There’s no glass shoe or fairy godmother. Instead, the opera brings to life all the warmth of goodness and love.” Indeed, “Cinderella” features some of Rossini’s grandest writing for solo voice and vocal ensembles.

Sung in Italian and set at the turn of the 20th century, Holman describes this production as a “relatively traditional” rendering of the story of a scullery maid, featuring a tour de force for mezzo-soprano.

Make that three mezzo-sopranos. “We have so many great mezzos that we opted to triple cast the part of

‘Cinderella.’ Each of the three performances will spotlight a different mezzo in the title role,” explains Holman.

“What I enjoy most about this opera are its pervasive themes of character development. ‘Cinderella’ is neglected and oppressed by an abusive father, but she learns to let that go. Because of the glorious love she’s found, forgiveness grows before regret and resentment take root.

“It’s a story of transcendence.”

www.BoulderPhil.org • 303.449.1343 ext. 2 Tickets start at $13; Students $5!

Opening NightSun., Sep. 13—7 PM at Macky Charles Wetherbee, violinGabriela Montero, pianoWorks by Ravel, Fujiwara & Rachmaninoff

Josh RitterSat., Oct. 10—7:30 PM at Macky

Portraits In Season Sat., Nov. 14—7:30 PM at Mackywith Boulder ChoraleCharles Denler, pianoWorks by Brahms & Denler

The Nutcracker BalletFri.-Sun., Nov. 27-29 at Macky

Christmas with the PhilSun., Dec. 20—2 PM, BoulderMon., Dec. 21—6:30 PM, Beaver CreekTue., Dec. 22—7:30 PM, Lone Tree

Dance, American StyleSat., Jan. 16—7:30 PM at Mackywith Boulder BalletWorks by Schuman, Bernstein& Copland

Spheres Of Infl uenceFri., Feb. 12—7:30 PM at MackyAnne Akiko Meyers, violinWorks by Mazzoli, Tchaikovsky, Mendelssohn & Shostakovich

Cirque de la Symphonie Sat., Apr. 2—2 & 7:30 PM at MackyAcrobats perform to classical favorites

Bach’s St. Matthew Passion Sat., April 23—7 PM at MackySun., April 24—2 PM in Denverwith Central City Opera, Boulder Bach Festival & CU Choruses

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The libretto for “Cinderella” was written by Jacopo Ferretti, based on the fairy tale “Cendrillon” by Charles Perrault.

The two-act opera performed at Macky Auditorium runs:Friday, Oct. 23 at 7:30 p.m. Saturday, Oct. 24 at 7:30 p.m. and Sunday, Oct. 25 at 2 p.m.

For tickets, visit cupresents.org or call 303-492-8008.

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Edward Dusinberre, violinKároly Schranz, violin

Geraldine Walther, violaAndrás Fejér, cello

String Quartet in G minor, No. 3 Op. 74, “The Rider” Joseph Haydn Allegro (1732-1809) Largo assai Menuet. Allegretto Finale. Allegro con brio

String Quartet No. 3 in F Major, Op. 73 Dmitri Shostakovich Allegretto (1906-1975) Moderato con moto Allegro non troppo Adagio Moderato

Intermission

String Quartet No. 14 in A-flat Major, Op. 105 Antonín Dvorák Adagio, ma non troppo. Allegro appassionato (1841-1904) Molto vivace Lento molto cantabile Allegro non tanto

Program

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Program NotesBy Marc Shulgold

Sudden fame can play tricks on the unsuspecting. Consider Haydn in what seemed to be the twilight of a life in music. Following the death of his longtime patron, Prince Nikolaus von Esterhazy, in 1790, the 58-year-old composer was released from his three-decade employment at the Esterhazy’s palace— normally a signal that it’s time to reflect on a satisfying career and coast to the finish line. Enter Johann Peter Salomon, a German-born composer and violinist who’d settled in London in the early 1780s (and who reportedly came up with the “Jupiter” nickname for Mozart’s 41st Symphony). Expanding to the arena of concert-organizing, Salomon traveled to Vienna and invited Haydn to travel with him to London, where the composer would present some new symphonies and chamber works for the locals—who’d been enjoying Haydn’s music for some time. In 1791, Haydn traveled to England, and proceeded to bowl over the Londoners with music that nimbly mixed sophistication with accessibility. It’s worth noting that the first six of what would become known as the dozen “London” Symphonies were performed in a spacious 800-seat hall that also served as the venue for his string quartets and piano trios. Here is where things began to change in Haydn’s approach to composition. Presenting chamber music to a wider spectrum of listeners in a less intimate space meant that the tunes should be bigger and catchier, with greater clarity and more flash. All the while, the composer’s intelligence and wit would need to remain intact for the pleasure of the connoisseurs. Thus, with his new-found adulation came new challenges to writing. Haydn had presented some of the six String Quartets of Opus 64 during his

visit, before returning to Vienna in 1792 with a fresh, revised compositional game-plan. The London experience still in mind, Haydn wrote six quartets the following year and dedicated them to his Freemason friend, Count Franz d’Apponyi. Created as a set, the “Apponyi” quartets were broken up into two groups of three by a publisher and labeled Opus 71 and 74. The last of the three from Opus 74 later drew the nickname “Rider” (or “Horseman”), presumably from the galloping syncopations of the final movement. This vivacious G-minor Quartet reveals the influence from Haydn’s diverse but devoted English audience of musical newcomers and sophisticates. In the “Rider,” melodies are instantly recognizable and memorable, the first violin’s flashy episodes seem clearly intended to thrill, the achingly slow and lovely Largo (in the remote key of E major) constructed to bring a tear to the eye and the deliciously fast-paced Allegro con brio served up as a sure-to-please finale. Most significantly, one hears four equal voices, often delivering the goods together in an assertive manner—able to reach the last row of a packed concert hall. But listen closer, and the inventiveness and subtlety of Haydn’s quartet-writing is consistently evident. No surprise that the first London triumph would lead to a second: In 1794, the composer returned to England, delivering six more symphonies, along with the “Apponyi” quartets. One can only imagine the euphoria that greeted their performances. Now an international superstar, Haydn had unexpectedly refined and expanded his thinking about the symphony and the string quartet—all to be duly noted by later composers.

String Quartet No. 3 in G minor, Op. 74, “The Rider” Franz Joseph Haydn

“Calm unawareness of the future cataclysm.” That’s the subtitle Shostakovich originally gave to the opening movement of his Third String Quartet. That ominous description can also serve as a warning to listeners of this stunning work: The music’s early charms will not last long, instead leading us into a torturous journey through hope and despair, tension and relief, life and death. Written in 1946 (the only work he completed that year), the F-major Quartet seems trapped in the shadow of Russia’s struggle to defeat Germany. Shostakovich had described this piece as a “war quartet,” and so the

temporary subtitles of its five movements, soon to be discarded, present clues to the unfolding drama of this shattering, deeply personal work. Those descriptions can provide an informal road map for the listener—but don’t take them too literally. There’s much more to the Third Quartet than a look-back at the war. Still, those titles are worth knowing. The first movement’s delightfully tuneful “Calm unawareness” is followed by “Rumblings of unrest and anticipation,” “The forces of war are unleashed,” “Homage to the dead” and “The eternal question: why and to what purpose?”

String Quartet No. 3 in F, Op. 73 Dmitri Shostakovich

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It’s no surprise that, soon after its first performance, the composer opted to erase those descriptions. With the war just ended and Stalin’s campaign of intimidation and death continuing, Shostakovich had no desire to ruffle the feathers of “Papa Joe” and his ever-vigilant Party bureaucrats. He had, after all, accomplished some serious feather-ruffling following Russia’s victory the year before, when his witty little Ninth Symphony failed to amuse the Party. The Third Quartet was premiered in Moscow on Beethoven’s birthday, Dec. 16, 1946, performed, appropriately, by the Beethoven Quartet, which received the dedication. Even with the excising of its subtitles, the music’s dramatic thrust remains inescapable. There’s a story being told here, a saga that seems to change direction at any given moment—an unpredictability common in so much of Shostakovich’s music. The opening Allegretto merrily changes keys and travels between light and dark without batting an eye, ending simply and sweetly with a wink. Its gaiety hardly prepares the listener for the heavy, three-beat pulse that kicks off the Second Movement.

No waltzing here, instead a “hup-two-three” march that goes through several permutations before evaporating into silence. The slashing chords and galloping rhythms of the following Allegro non troppo seem a precursor to the vicious Second Movement of the composer’s 10th Symphony (1953), reportedly a portrait of Stalin. One might also hear traces of earlier and later Shostakovich symphonies in the remaining movements. The devastating funereal Adagio (a subtly unfolding Passacaglia) culminates in an eerie viola-cello duet in which the latter’s lowest note leads directly into the ensuing Moderato. This is the longest of the Quartet’s movements, traveling through numerous episodes, including a little folk dance, before concluding mysteriously with soft F-major chords supporting the violin’s ascent into the cosmos—an ending marked morendo (dying). Years after its premiere, the composer sat in on a rehearsal of the work with the members of the Beethoven Quartet. One of them later remarked, “When we finished playing, he sat quite still in silence like a wounded bird, tears streaming down his face.”

Maybe you remember the Simon and Garfunkel song that begins: “Gee but it’s great to be back home. Home is where I want to be. I’ve been on the road so long my friend...” Those sentiments can be felt in nearly every moment of Dvořák’s Opus 105 Quartet in A-flat, begun near the end of his New York City stay, and completed back home in Prague. Not that the composer hated his American residency, which included joyous summertime visits to the Bohemian community of Spillville, Iowa – birthplace of the “New World” Symphony and “American” String Quartet. But by early 1895, the fourth year of his tenure as founding director of the National Conservatory of Music, Dvořák’s homesickness took over, and he tendered his resignation to Jeannette Thurber, who had lured the composer to the New World in 1892. Despite an optimistic report in the January 3, 1897 edition of The New York Times (the headline read, “Dr. Dvorak to Return”), his days in the United States were over, once he and his family set sail. As for this A-flat Quartet, we’ll sort through some numbering confusion caused by the composer. Just as musicologists had to do some digging to assign the proper order to his early Symphonies, Dvořák made life difficult for them with his final pair of String Quartets. It seems the opening pages of Opus 105 were shelved once the Dvořáks settled back in Prague in April, 1895. For whatever reason, the composer then set to work on

another String Quartet, the brilliant G-major, which was completed in a month and designated as Opus 106. Only then did work resume on the Quartet he’d begun in New York. So, technically, this piece—No. 14 in A-flat, Opus 105 – is actually his final work for four strings. There’s no confusion about the loveliness of the music. It’s possible to hear an expression of homesickness in its dark opening measures, appropriately set in A-flat minor. A brief phrase, begun in the cello and passed to the other players, will soon switch to the major and pick up steam, as if Dvořák is telling us, “Gee but it’s great to be back home.” That little melodic idea will serve as the backbone of the First Movement, which dances along with nearly unstoppable pleasure. Even a relaxed new theme projects quiet contentment. Near the end, a reprise of that mournful opening seems a mere moment of nostalgia, as the happiness quickly returns. In the Molto vivace we hear the playful, uneven rhythms of the popular Bohemian folk dance, the Furiant. In the Third Movement, one wonders if there’s just a touch of American folk simplicity that’s remembered in its warm, prayerful feelings, interrupted only by a short agitated episode. The concluding Allegro non tanto displays Dvořák’s undisguised love of his homeland’s earthy melodies, harmonies and rhythms. Be it ever so humble...

String Quartet No. 14 in A-flat Major, Op. 105 Antonin Dvořák

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Upcoming Performance PreviewNov. 8-9

String Quartet No. 1 in C major, Opus 74 Joseph Haydn

Second piece to be announced from the stage

String Quartet No. 3 in B flat major, Opus 67 Johannes Brahms

The Takács Quartet Recognized as one of the world’s great ensembles, the Takács Quartet plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire.

The Takács became the first string quartet to win the Wigmore Hall Medal on May 10, 2014. The medal, inaugurated in 2007, recognizes major international artists who have a strong association with the hall.

In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London.

Since 1988, the quartet has also made 16 recordings of works by Beethoven, Bartók, Borodin, Brahms, Chausson, Dvořák, Haydn, Mozart, Schubert and Smetana for the Decca label. The ensemble’s

recording of the six Bartók string quartets received the 1998 Gramophone Award for chamber music. The ensemble’s other Decca recordings include Dvořák’s String Quartet in E-flat Major, Op. 51 and Piano Quintet in A Major, Op. 81 with pianist Andreas Haefliger; Schubert’s Quartet in G Major and Notturno Piano Trio with Mr. Haefliger; the three Brahms string quartets and Piano Quintet in F Minor with pianist András Schiff; and Mozart’s String Quintets, K515 and 516 with Gyorgy Pauk, viola.

The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder, where the quartet has helped to develop a string program with a special emphasis on chamber music. The quartet’s commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West, Santa Barbara. They are also Visiting Fellows at the Guildhall School of Music and Drama, London.

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Faculty Tuesday recitals are held throughout the academic year at 7:30 p.m. in Grusin Music Hall of the Imig Music Building on the CU-Boulder campus.

Performances are free and open to the public.Sept. 22 Woodwind Faculty: The Winds Blow! Once again, the woodwind faculty share their talents with the local audiences. Music for saxophone, clarinet, bassoon, oboe and flute with Tom Myer, Yoshiyuki Ishikawa, Peter Cooper and Daniel Silver.

Oct. 6 The Music of George Lynn: Sponsored by the American Music Research Center. Enjoy a variety of vocal and instrumental works by nationally known teacher, conductor and composer George Lynn to celebrate the 100th anniversary of his birthday. Thomas Riis is joined by Patrick Mason, Abigail Nims, Daniel Silver, Hsing-ay Hsu, Margaret McDonald, Mutsumi Moteki, Christina Jennings, Terry Sawchuk and the Altius String Quartet.

Oct. 13 Throw Down or Shut Up!: Patterns at Play Join saxophonist and flutist John Gunther, guitarist Patrick Sutton, pianist Daphne Leong and percussionist Michael Tetreault. You’ll hear the world premiere of Hunter Ewen’s “Cake of 1000 Waterfalls,” and experience an interactive exploration of adventurous, imaginative and fun pieces by Reich, Muhly, Shende, Stravinsky, Ewen and Gunther. Inspiration for these pieces ranges from the Mario Bros. video games to hero legends, cake baking and the tango.

Oct. 20 Harpist Janet Harriman and friends: 28 pedals With harpists Don Hilsberg, Kathryn Harms and Joni Martin, Janet Harriman will perform Sylvan Levin’ “Four Spanish Dances for Four Harps,” Richard Einhorn’s “New Pages for Two Harps” and Carlos Salzedo’s “Preambule et jeux.”

Oct. 27 Violinist Chas Wetherbee and friends In an evening of firsts, experience the first Boulder performance of Paul Juon’s nuanced and melodic “Violin Sonata No. 2” with piano faculty David Korevaar. New faculty members, violinist Harumi Rhodes and cellist David Requiro—along with Erika Eckert and Paul Erhard—will then join forces to present another Boulder premiere, Max Bruch’s incredible “String Octet.”

Nov. 3 Pianist Jennifer Hayghe: The Art of Music Join new piano faculty member Jennifer Hayghe for an evening featuring music inspired by art and art inspired by music—including Mussorgsky’s “Pictures at an Exhibition”—performed in conjunction with a synchronized silent film of 53 original images created by visual artist Michele Tremaine. The program includes music by Bach, Granados and Liszt with artwork by Klee, Goya and Raphael.

Nov. 10 Soprano Jennifer Bird-Arvidsson and pianist Alexandra Nguyen: Cabaret Songs Grusin Music Hall will be transformed into a cabaret nightclubfor this intimate performance featuring standards of the cabaret genre interpreted through the lens of traditional classical composers such as Schoenberg and Britten. The evening won’t be complete without an engaged audience, so come join us for an unforgettable soirée!

Nov. 17 Cellist David Requiro and pianist Margaret McDonald: A Folk-Inspired Evening Join new faculty cellist David Requiro and pianist Maragaret McDonald for Kodaly’s “Sonata for Cello and Piano,” Op. 4, “Five Pieces on Folk Themes” by Tsintsadze and Brahms’ “Cello Sonata No. 2 in F-Major,” Op. 99.

Dec. 1 Violinist Harumi Rhodes and pianist David Korevaar: First Ventures Harumi Rhodes and David Korevaar embark on an exploration of “first ventures” featuring first sonatas for violin and piano by Beethoven and Bartok. Also on the program is Messiaen’s “Thème et variations,” a mystical work like none other in the repertoire.



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Artist SeriesThe 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.

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PatronAnonymousJoan McLean BraunChris and Barbara ChristoffersenDaryl and Kay JamesRuth Carmel KahnLouise Pearson and Grant CouchScott Wiesner and Janet Ackermann

SupporterGil and Nancy BermanMark and Margaret CarsonCarson-Pfafflin Family FoundationCenter Copy Boulder, Inc.Walter DuncanMarty Coffin Evans and Robert TremblyCarol and Michael GallucciLori Lucas and Bob SchuylerHeidi and Jerry LynchRobert and Sandra McCalmonJudy and Alan MegibowJerry and Jamie OrtenMikhy and Michael RitterAlicia and Juan RodriguezTheodore and Ruth SmithLarry and Ann Thomas

ContributorMary AldersonDean and Ellen BoalPrudence Carter Norma Ekstrand and Tom CampbellHarold and Joan LeinbachSusan and Jon LounsburyJanet and Scott MartinBarbara and Irwin NeulightGary and Beth RauchAnthony and Randi StrohDouglas and Avlona Taylor

MemberDavid BeausangShirley CarnahanNoel A. and Pauline A. ClarkCatherine CloutierJoseph and Jaird de RaismesLaima and Damon HaleyJo and David HillJeannette and David HilleryGregory and Gladeane LefferdinkPam LelandJudah and Alice LevineMargaretha Maloney and Robert PalaichPaul and Kay McCormickJanet and Hunter McDanielTammy NoirotCourtland and Carolyn SpicerZoe StiversLloyd Timblin Jr.Geoffrey TyndallHeather Van DusenVince and Caroline Wayland

Artist SeriesAdvisory BoardGil BermanRudy BetancourtJoan McLean BraunJohn DavisDiane DunnMike GallucciLissy GarrisonLaima HaleyDaryl James, PresidentMaryan K. JarossRuth KahnJerry OrtenLouise PearsonErika RandallRobert ShayGregory SilvusEllen TaxmanNicholas Vocatura

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Takács SocietyThe 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.

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 SocietyCU 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.

BenefactorAlbert and Nancy BoggessLyle Bourne and Rita YaroushSam ErsanNorma Johnson in memory of Fay ShwayderGary and Judith Judd in memory of Fay ShwayderThe Takács Quartet

SponsorPamela Decker and Beth SapersteinCarol Lena KovnerDavid and Janet RobertsonMarion Thurnauer and Alexander Trifunac

PatronThomas and Carol CechChris and Barbara ChristoffersenAnne Heinz and Ran YaronRay and Margot LaPanseKathleen SullivanJohn and Carson Taylor

SupporterPatricia ButlerRobert R. KehoeWalter and Eileen KintschVirginia M. NewtonNewton Family Fund, Inc.Neil and Martha PalmerMikhy and Michael RitterDavid and Susan SeitzLawrence and Ann ThomasJames and Lena Wockenfuss

ContributorVirginia and Stanley BoucherWilliam and Alice BradleyMarda BuchholzBob and Lennie DamrauerCarolyn and Don EtterSteve Goldhaber and Mariana Gold-haber-VertensteinHarold and Joan LeinbachNancy and Paul LevittPatricia and Robert LisenskyAnthony and Randi StrohBerkley TaguePatricia Thompson

MemberAnonymousLois AbbottChristine Arden and David NewmanNeil Ashby and Marcia GeissingerMaria and Jesse AweidaChristopher and Margot BrauchliKevin and Diana BunnellShirley CarnahanPenny CheneryNoel A. and Pauline A. ClarkHelen Dorsey CorbettCharlotte CorbridgeRichard and JoAnn CrandallBarbara and Carl DiehlCarolyn and Don EtterBob and Jean FischerLloyd and Mary Gelman

Ken and Dianne HackettRichard and Catharine HarrisDoree and Jerry HickmanRuth and Richard IrvinRichard Jessor and Jane MenkenBruce and Kyongguen JohnsonPatricia and William JohnsonJennifer and Bob KamperMireille Key Marion and Frank KreithAlice and Judah LevineAlbert and Virginia LundellHeidi and Jerry LynchKamilla MacarJohn and Nancy MalvilleMaxine MarkJ. Richard and Marjorie McIntoshPeter and Doris McManamonChristopher Mueller and Martha WhittakerJoan and Ronald NordgrenAlison and Graham OddieAntonia and Timothy Piwonka-CorleRichard Replin and Elissa SteinMark and Joanna RosenblumRuth Shanberge in memory of Carol SeidemanTodd and Gretchen SlikerGrietje SloanCarol and Art SmootHelen StoneMary and Peter Van EttenBetty Van ZandtThomas VanZandt and Natalie HedbergJames and Nurit WolfBill Wood



The George Lynn CentennialOctober 5-8, 2015 at CU Boulder

Join us to honor Colorado composer, conductor and teacher, George Lynn at concerts by CU faculty

and choirs, and a free public seminar featuring famed choral conductor, Dr. Eph Ehly.

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Friends of the Eklund OperaThe Eklund Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize Eklund Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting Eklund Opera, please contact our Development Office at 303-735-6070.

About the Eklund Opera ProgramRecognizing the importance of the arts and live vocal performance in an increasingly distracted world, long-time Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment will help support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students.

From left: Paul Eklund Leigh Holman, Director of OperaRobert Shay, College of Music Dean

BenefactorAnonymousDavid Allen and Carol DeBacaBoulder Rotary ClubPaul EklundAnn OglesbyAlan and Martha StormoThe Academy Charitable Foundation, Inc.

PatronChris and Barbara ChristoffersenLloyd and Mary GelmanAlbert and Betsy HandBob and Mikee KapelkeAntoinette and Douglas Shaller

SupporterAnonymousMark and Margaret CarsonCarson-Pfafflin Family FoundationMikhy and Mike RitterTheodore and Ruth SmithLawrence and Ann ThomasKen and Ruth Wright in memory of Mayme LacyWright Family Foundation

ContributorJim and Judith BowersRobert and Lenore DamrauerMaryann Dimand and Sheeyun ParkMartha Coffin Evans and Robert TremblyHarold and Joan LeinbachJanet and Scott MartinDenise McCleary and Paul Von BehrenDave and Ann PhillipsRichard and Caroline Van PeltPeter WallMichael and Linda Weatherwax in memory of Allene Cash

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

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College of Music CabinetRobert Shay, DeanJames Austin, Associate Dean of U.G. StudiesJames Brody, Interim Dean for U.G. StudiesSteven Bruns, Associate Dean for Grad. StudiesJohn Davis, Associate Dean for AdministrationJoan McLean Braun, Assistant Dean for Concerts and Strategic CommunicationsLissy Garrison, Assistant Dean for AdvancementAlexander George, Executive Assistant to the Dean

Honorary Directors:Dean Boal, Bob Charles, Eileen Cline, Donna Erismann and Dave Grusin

StaffJoan McLean Braun, Executive DirectorLaima Haley, Marketing and P.R. DirectorSabine Kortals, Interim Director of CommunicationsDaniel C. Leonard, Marketing ManagerJessie Bauters, Assistant Director of Communications and Web AdministratorMel Plett, Publications ManagerKaren Schuster, Graphic DesignZachary Barger, Abbey Engrav, Helen Slivinski, Colin Wichman, Jackson Xia, P.R. AssistantsNick Vocatura, Operations DirectorAndrew Metzroth, Box Office ManagerMichael Casey, Box Office Services ManagerCiara Glasheen-Artem, Elise Campbell, Starla Doyal, Adrienne Havelka, Chris Ruiz, Melanie Shaffer, Box Office AssistantsKevin Harbison, Recording EngineerNancy Quintanilla, Financial ManagerTed Mulcahey, Piano Technician

Macky Auditorium StaffRudy Betancourt, DirectorJohn Jungerberg, Operations ManagerSara Krumwiede, Assistant DirectorJP Osnes, Technical DirectorRhett Snyder, Assistant Technical DirectorRojana Savoye, House ManagerNicole Anderson, Assistant House Manager

Program Editor: Sabine KortalsProgram Design/Layout: Mel Plett

Accessibility and ParkingMacky Auditorium is fully wheelchair accessible; ADA-Accessible parking is available nearby. Please call the Box Office as early as possible to make arrangements.

Paid parking is available in the Euclid Avenue Auto-park, Lot 310 and Lot 204. Contact the Box Office, or check the CU Presents website for more information.

Photography and video recordings of any type are strictly prohibited during the performance.

Food is permitted in the seating areas of Macky Auditorium, but is prohibited in other campus venues unless otherwise noted.

Smoking is not permitted anywhere. CU- Boulder is a smoke-free campus!

Ticket Sales are final; no refunds.Exchanges subject to availability and must be made at least one business day prior to the day of performance. Subscribers may exchange tickets for free. Single ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases.Please return your tickets to the Box Office prior to the performance, if you are unable to use them.

College of Music Advisory BoardRobert Shay, DeanChris BrauchliBob BuntingJan BurtonPaul EklundBill ElliottMartha Coffin EvansJonathan FoxDavid FulkerGrace GammLloyd GelmanDoree Hickman

David HummerDaryl JamesCaryl KassoyRobert KorenblatErma ManteyJoe NeglerSusan OlenwineMikhy Ritter, co-chairBecky Roser, co-chairMark TezakJeanne ThompsonJack Walker


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Documents

Cu Presents Magazine Takács Quartet Fall 2015, Sept. 20-21, 2015