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Global performance. World-class entertainment.You have to be here.
2014–2015 Season
Be engaged. Be inspired. Be here.
20142015SEASON
www.boulderballet.org
• The Nutcracker with full orchestra
• Stepping Out 2015 world premiere ballets
• Storybook Ballet a student performance
• The Firebird a family-friendly event for Mother’s Day
• Ballet in the Park free outdoor concertsB
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From the Executive Director Contents
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Dear Friends,
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.
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, multi-media 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.
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 [email protected].
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 [email protected].
Thank you so much for your continuing support of the performing arts at CU-Boulder. We truly couldn’t do it without you.
Warm regards,
Joan McLean BraunExecutive DirectorCU Presents
40 years of Mummenschanz ........ 6
Calendar ....................................... 8
Why ‘the Great War’? ................. 12
Faculty Tuesdays ........................ 20
Artist Series Donors ................... 22
Takács Donors ............................ 24
CU Opera Donors ....................... 28
Tips for the opera newbie ........... 29
Personnel ................................... 30
This program is produced for CU Presents
by The Publishing House, Westminster, CO.
Angie Flachman Johnson, PublisherAnnette Allen, Art Director &
Production CoordinatorStacey Krull, Graphic Design & Layout
Wilbur E. Flachman, President
Clay Evans, CU Presents Editor
For advertising, please call 303.428.9529
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Advertising Information
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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 visual-theater 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.
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.
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.
— Sarah Moore, TheaterMania.com
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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.
KRONOS QUARTETBeyond Zero: 1914–1918Wednesday, 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.
MUMMENSCHANZFriday, 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 SINGERSThursday, 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 COMPANYPlay and PlayThursday, 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.
MEDESKI, MARTIN AND WOOD WITH ALARM WILL SOUNDFriday, 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 LUBAMBOThursday, 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 ORCHESTRAThursday, 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.
KRONOS QUARTET
THE KING’S SINGERS
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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 QUARTETSunday, Sept. 21, 2014, 4 p.m.Monday, Sept. 22, 2014, 7:30 p.m.Program: Mozart’s String Quintet in G minor, K. 516Beethoven’s Quartet in B-flat major, Op. 130
SPECIAL GUEST THE CAVANI STRING QUARTETSunday, Oct. 19, 2014, 4 p.m.Monday, Oct. 20, 2014, 7:30 p.m.Grusin Music HallThe 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 QUARTETSunday, Nov. 2, 2014, 4 p.m.Monday, Nov. 3, 2014, 7:30 p.m.Program:Mozart’s String Quartet in C major, K. 465Debussy’s String Quartet in G minor, Op. 10Beethoven’s String Quartet No. 2 in E minor, Op. 59
TAKÁCS QUARTETSunday, Jan. 25, 2015, 4 p.m.Monday, Jan. 26, 2015, 7:30 p.m.Program TBA
TAKÁCS QUARTETSunday, March 8, 2015, 4 p.m.Monday, March 9, 2015, 7:30 p.m.Program TBA
TAKÁCS QUARTETSunday, April 26, 2015, 4 p.m.Monday, April 27, 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 PENZANCEBy Gilbert and SullivanOct. 24-26, Macky AuditoriumGilbert 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 TUTTEBy Wolfgang Amadeus MozartMarch 13-15, Macky AuditoriumMozart’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.
L’INCORONAZIONE DI POPPEA(THE CORONATION OF POPPEA)By Claudio MonteverdiApril 23-26 Music Theatre, Imig Music BuildingMonteverdi’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 FESTIVALDec. 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 SWINGApril 12, 2 p.m., Macky AuditoriumJoin 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.
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Congratulationsto the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody,
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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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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.
OUR TOWN BY THORNTON WILDERDirected by Lindsay Weitkamp and Wesley LongacreSept. 26-Oct. 5, University TheatreWilder’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 CAROLBy Kathy Feininger, Directed by Nathan StithDec. 4-21, University TheatreIf 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
of Dickens’ classic holiday ghost story, complete with new lyrics to famous Broadway show tunes.
TARTUFFE BY MOLIÈRETranslated by Christopher HamptonDirected by Lynn NicholsFeb. 13-22, University TheatreFrench 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 SUPERSTARLyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia PangApril 10-19, University TheatreEver 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 CURRENTApril 17-19Charlotte York Irey TheatreA 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: 1914-1918,” 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.
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
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, Austria-Hungary, 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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KRONOS QUARTETDavid Harrington, violin
John Sherba, violinHank Dutt, viola
Sunny Yang, cello
Brian H. Scott, lighting supervisorScott Fraser, sound designer
Program
Intermission
Kronos QuartetDeath to Kosmische* Speak, Time* World premiere
Kronos Quartet and David BarsamianEviç TaksimSmyrneiko MinoreSim SholomGroung World premiere
Nicole LizéeYuri Boguinia
Tanburi Cemil Bey (arr. Stephen Prutsman)†Traditional (arr. Jacob Garchik)†
Alter Yechiel Karniol (arr. Judith Berkson)†Komitas (arr. Mary Kouyoumdjian)†
Beyond Zero: 1914–1918*A new work for quartet with film
Aleksandra Vrebalov, composerBill Morrison, filmmaker
David Harrington and Drew Cameron, creative consultants
Janet Cowperthwaite, producerKronos Performing Arts Association, production management
*Written for Kronos†Arranged for Kronos
Program subject to change.
Tonight’s concert is supported by a grant from the Roser Visiting Artist Fund
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Death to Kosmische (2010)Nicole Lizée (b. 1973)Nicole Lizée is a composer, sound artist and keyboardist based in Montreal, Quebec. Her compositions range from works for large ensemble and solo turntablist featuring DJ techniques fully notated and integrated into a concert-music setting, to other unorthodox instrument combinations that include the Atari 2600 video-game console, Simon and Merlin handheld games and karaoke tapes. Lizée has received commissions from artists and ensembles such as l’Orchestre Métropolitain du Grand Montréal, CBC, So Percussion and Darcy James Argue’s Secret Society. She has twice been named a finalist for the Jules-Léger Prize, most recently in 2007 for This Will Not Be Televised, scored for chamber ensemble and turntables and recommended among the top ten at the 2008 International Rostrum of Composers. In 2002 she was awarded the Canada Council for the Arts Robert Fleming Prize.About Death to Kosmische, Lizée writes:“Death to Kosmische is a work that reflects my fascination with the notion of musical hauntology and the residual perception of music, as well as my love/hate relationship with the idea of genres. The musical elements of the piece could be construed as the faded and twisted remnants of the Kosmische style of electronic music. To do this, I have incorporated two archaic pieces of music technology (the Stylophone and the Omnichord) and have presented them through the gauze of echoes and reverberation, as well as through imitations of this technology as played by the strings. I think of the work as both a distillation and an expansion of one or several memories of music that are irrevocably altered by the impermanence of the mind. Only ghosts remain.”Nicole L izée’s Death to Kosmische was commissioned for the Kronos Quartet by Margaret Dorfman and the Ralph I. Dorfman Family Fund.
Speak, Time (2014)Yuri Boguinia (b. 1991)
Russian-born American composer Yuri Boguinia has worked with the Kronos Quartet, Moscow String
Quartet, Juilliard Orchestra, Aspen Conductors Orchestra and Longmont Symphony, among others. Having completed his bachelor’s degree at the Juilliard School, Boguinia is currently a PhD candidate in music composition at Princeton University. Before Juilliard he worked with University of Colorado Boulder professor Daniel Kellogg and studied violin with the first violinist of the Moscow String Quartet, Eugenia Alikhanova. In 2013 he won the Juilliard Orchestra Composition Competition and had his work Margarita at the Ball premiered by the Juilliard Orchestra. Boguinia received the 2008, 2009 and 2011 ASCAP Morton Gould Young Composer Awards and the 2012 and 2013 ASCAP Plus Awards. About Speak, Time, Boguinia writes: “I have always thought of music as a measurement of time. Just as we break time into hours, minutes and seconds, music also divides and measures time. It is the most sophisticated and beautiful measurement of time we have because it not only takes into account the mathematical structure (tempo, time signature etc.) but also has the tremendous power of accessing the state of humanity. With Speak, Time I asked the question: ‘If time could speak, what would time say of our world today?’ I believe that time does speak, it speaks through music: music is the voice of time.”Speak, Time was written for the Kronos Quartet.
Eviç TaksimTanburi Cemil Bey (1871–1916)(arr. Stephen Prutsman)Tanburi Cemil Bey is widely regarded as the most renowned composer of instrumental art music from the late period of the Ottoman Empire, as well as one of its greatest instrumentalists. Born in Istanbul, Cemil Bey exhibited exceptional talent as a young boy at the tanbur, a long-necked, fretted lute played with a plectrum. As a composer, he made notable contributions in the development of suite forms known as pesrev and saz semai, which continue to dominate traditional Turkish music, as well as in the art of taksim, a style of improvisation in Turkish classical music. Although the kemençe had been used in Turkish classical music since the middle of the 19th century, due in part to Cemil Bey’s influence
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it has since become an essential part of traditional Turkish music ensembles.Born in Los Angeles in 1960, Stephen Prutsman began playing the piano by ear before moving on to more formal music studies. In his early teens he was the keyboard player for several rock groups, including Cerberus and Vysion. In the early ’90s he was a medal winner at the Tchaikovsky and Queen Elisabeth piano competitions, which led to performances in various prestigious music centers and with leading orchestras in the United States and Europe. In 2004, Prutsman was appointed to a three-year term to the position of Artistic Partner with the Saint Paul Chamber Orchestra. Prutsman’s long collaboration with Kronos has resulted in over 40 arrangements of distinctive and varying musical languages.Stephen Prutsman’s arrangement of Evic Taksim was commissioned for the Kronos Quartet by Angel and Priscilla Stoyanof.
Smyrneiko MinoreTraditional(arr. by Jacob Garchik)This arrangement of Smyrneiko Minore is inspired by a 1918 recording by Greek singer Marika Papagika (1890–1943). The breeding ground of Greek-American music was often the “cafés Amans,” atmospheric gathering places filled with cultural reassurance, Greek newspapers, home-cooked food, strong coffee and, always, music. One of the most popular was a New York-based operation run by the husband and wife team of Kostas and Marika Papagika.Papagika was born on the island of Kos. Arriving in New York in 1915, she and her husband later owned and operated their own club. She became a noted exponent of the Smyrnaic Greek style of the rebetiko tragoudi, the garrulous music that had first emerged in Smyrna. Papagika was one of the first artists to commit rembetika to wax in the new world. Papagika’s first four-song session for Victor took place in New York in 1918 and included the celebrated Smyrneiko Minore.Trombonist and composer Jacob Garchik, born in San Francisco, has lived in New York since 1994. Since 2006 he has contributed arrangements and transcriptions for the Kronos Quartet of music from all over the world. He plays with groups including
the Lee Konitz New Nonet, the Ohad Talmor/Steve Swallow Sextet, Slavic Soul Party, and the Four Bags. He has also worked with composers George Lewis, Anthony Braxton, Anthony Coleman and James Tenney, choreographers Yoshiko Chuma and Anita Cheng, and the Theatre of a Two-headed Calf. His second CD, Romance, was hailed by Ben Ratliff in The New York Times as “odd and excellent ... taut with paradox ... and beautiful art songs.” He has recorded for Piranha, Omnitone, NCM East, Tzadik, New World and Palmetto. Garchik also plays accordion, bass trombone, tuba, computer and piano.Program note by Paul Vernon, adapted from the article “Seeking Marika,” which appeared in the world music magazine fRoots. Reprinted with permissionJacob Garchik’s arrangement of Smyrneiko Minore was commissioned for the Kronos Quartet by the David Harrington Research and Development Fund.
Sim Sholom (c. 1913)Alter Yechiel Karniol (1855–1929)(arr. by Judith Berkson)This arrangement of Sim Sholom is inspired by a recording made by Cantor Alter Yechiel Karniol around 1913. Karniol was born in Dzialoszyce, Poland, and sang in Hungary before being invited by the Hungarian congregation Ohab Zedek in New York City to be its cantor. He returned to Europe to officiate at the Great Synagogue of Odessa, but after the 1905 pogrom erupted he returned to the United States and eventually resumed officiating at Ohab Zedek.Karniol was noted for his extraordinary range and his intensely emotional, improvisatory style. He made the recording of Sim Sholom on which this arrangement is based in New York for Columbia Records, backed by a male chorus. The text is the final blessing of the weekday service, which says, in part, “Grant peace, goodness, blessing, grace, kindness, and compassion upon us and upon all of Your people Israel.”Arranger Judith Berkson is a soprano, pianist and composer who also performs as Liederkreis. Her solo record Oylam was released on ECM Records in 2010. She has performed at the New York City Opera Vox Festival, the Brucknertage in St. Florian,
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it has since become an essential part of traditional Turkish music ensembles.Born in Los Angeles in 1960, Stephen Prutsman began playing the piano by ear before moving on to more formal music studies. In his early teens he was the keyboard player for several rock groups, including Cerberus and Vysion. In the early ’90s he was a medal winner at the Tchaikovsky and Queen Elisabeth piano competitions, which led to performances in various prestigious music centers and with leading orchestras in the United States and Europe. In 2004, Prutsman was appointed to a three-year term to the position of Artistic Partner with the Saint Paul Chamber Orchestra. Prutsman’s long collaboration with Kronos has resulted in over 40 arrangements of distinctive and varying musical languages.Stephen Prutsman’s arrangement of Evic Taksim was commissioned for the Kronos Quartet by Angel and Priscilla Stoyanof.
Smyrneiko MinoreTraditional(arr. by Jacob Garchik)This arrangement of Smyrneiko Minore is inspired by a 1918 recording by Greek singer Marika Papagika (1890–1943). The breeding ground of Greek-American music was often the “cafés Amans,” atmospheric gathering places filled with cultural reassurance, Greek newspapers, home-cooked food, strong coffee and, always, music. One of the most popular was a New York-based operation run by the husband and wife team of Kostas and Marika Papagika.Papagika was born on the island of Kos. Arriving in New York in 1915, she and her husband later owned and operated their own club. She became a noted exponent of the Smyrnaic Greek style of the rebetiko tragoudi, the garrulous music that had first emerged in Smyrna. Papagika was one of the first artists to commit rembetika to wax in the new world. Papagika’s first four-song session for Victor took place in New York in 1918 and included the celebrated Smyrneiko Minore.Trombonist and composer Jacob Garchik, born in San Francisco, has lived in New York since 1994. Since 2006 he has contributed arrangements and transcriptions for the Kronos Quartet of music from all over the world. He plays with groups including
the Lee Konitz New Nonet, the Ohad Talmor/Steve Swallow Sextet, Slavic Soul Party, and the Four Bags. He has also worked with composers George Lewis, Anthony Braxton, Anthony Coleman and James Tenney, choreographers Yoshiko Chuma and Anita Cheng, and the Theatre of a Two-headed Calf. His second CD, Romance, was hailed by Ben Ratliff in The New York Times as “odd and excellent ... taut with paradox ... and beautiful art songs.” He has recorded for Piranha, Omnitone, NCM East, Tzadik, New World and Palmetto. Garchik also plays accordion, bass trombone, tuba, computer and piano.Program note by Paul Vernon, adapted from the article “Seeking Marika,” which appeared in the world music magazine fRoots. Reprinted with permissionJacob Garchik’s arrangement of Smyrneiko Minore was commissioned for the Kronos Quartet by the David Harrington Research and Development Fund.
Sim Sholom (c. 1913)Alter Yechiel Karniol (1855–1929)(arr. by Judith Berkson)This arrangement of Sim Sholom is inspired by a recording made by Cantor Alter Yechiel Karniol around 1913. Karniol was born in Dzialoszyce, Poland, and sang in Hungary before being invited by the Hungarian congregation Ohab Zedek in New York City to be its cantor. He returned to Europe to officiate at the Great Synagogue of Odessa, but after the 1905 pogrom erupted he returned to the United States and eventually resumed officiating at Ohab Zedek.Karniol was noted for his extraordinary range and his intensely emotional, improvisatory style. He made the recording of Sim Sholom on which this arrangement is based in New York for Columbia Records, backed by a male chorus. The text is the final blessing of the weekday service, which says, in part, “Grant peace, goodness, blessing, grace, kindness, and compassion upon us and upon all of Your people Israel.”Arranger Judith Berkson is a soprano, pianist and composer who also performs as Liederkreis. Her solo record Oylam was released on ECM Records in 2010. She has performed at the New York City Opera Vox Festival, the Brucknertage in St. Florian,
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Picasso Museum Malaga, Jewish Culture Festival in Krakow and Joe’s Pub and the American Festival of Microtonal Music in New York. She collaborated with Kronos Quartet in 2010 in a performance of Schubert songs, arranged for string quartet and analog keyboards, and an aria from Mileva, a forthcoming opera by Aleksandra Vrebalov. In 2011 she received a Six Points Fellowship and is writing an opera about Viennese cantor Salomon Sulzer for chamber ensemble, voices, organs and percussion, which will premier in New York in 2012.Judith Berkson’s arrangement of Sim Sholom was commissioned for the Kronos Quartet by the David Harrington Research and Development Fund, and is part of a five-song cycle dedicated to the memory of Harold Goldberg.
Groung (c. 1912)Komitas (1869–1935)(arr. Mary Kouyoumdjian)The 19th century poem Groung (in English, Crane) by Hovhaness Tumanian was set by the Armenian monk and composer known as Komitas (born Soghomon Soghomonian). Ordained as a priest, Komitas was also a singer and a musicologist, becoming a central figure in Armenian music who then witnessed the 1915 Armenian genocide. This arrangement is based on a version sung by Zabelle Panosian (1893–1986), recorded in 1916. Panosian, born in Armenia but living in New York at the time of this rendition, is known to have recorded only a dozen songs. The poem reads, in part, “A crane has lost its way across the heavens, / From yonder stormy cloud I hear him cry./ … I am exiled from my ruined nest, / And roam with faltering steps from hill to hill./ … Every bird its homeward way can trace, / But I must roam in darkness, lone and lost.”Mary Kouyoumdjian is a composer with projects ranging from concert works to multimedia collaborations and film scores. As a first-generation Armenian-American and having come from a family directly affected by the Lebanese Civil War and Armenian genocide, she uses a sonic palette that draws on her heritage, interest in folk music and background in experimental composition to progressively blend the old with the new. Kouyoumdjian is also a co-founder and the executive director of the New York-based contemporary music ensemble Hotel Elefant. In 2013 she was selected as the fifth recipient of a commission through the Kronos: Under 30 Project,
a commissioning and residency program for composers under 30 years of age.Mary Kouyoumdjian’s arrangement of Groung by Komitas was commissioned for the Kronos Quartet by the David Harrington Research and Development Fund.
David Barsamian (b. 1945)One of America’s most tireless and wide-ranging investigative journalists, David Barsamian has altered the independent media landscape, both with his weekly radio show Alternative Radio — now in its 28th year — and his books with Noam Chomsky, Eqbal Ahmad, Howard Zinn, Tariq Ali, Richard Wolff, Arundhati Roy and Edward Said. His latest book of interviews with Noam Chomsky is Power Systems: Conversations on Global Democratic Uprisings and the New Challenges to U.S. Empire. His best-selling books with Chomsky have been translated into many languages. He lectures on world affairs, imperialism, the state of journalism, censorship, the economic crisis and global rebellions.He is winner of the Media Education Award, the ACLU’s Upton Sinclair Award for independent journalism, and the Cultural Freedom Fellowship from the Lannan Foundation. The Institute for Alternative Journalism named him one of its Top Ten Media Heroes. As Arundhati Roy wrote for The Guardian, Barsamian was deported from India in 2011 due to his work on Kashmir and other revolts. He is still barred from traveling to “the world’s largest democracy.”“The work of David Barsamian is a precious natural resource. His generosity, courage, and incisive clarity of vision are essential qualities of Alternative Radio,” says Kronos Quartet founder David Harrington. “What better way to ensure that our audience knows of this man and his work, than to include his words and his presence within the context of our concert?”
Beyond Zero: 1914–1918 (2014)Aleksandra Vrebalov (b. 1970)Film by Bill Morrison (b. 1965)Unlike official histories, which have often romanticized and glorified the war, artists have typically been the keepers of sanity, showing its brutality, destruction, and ugliness. For many across history, creating art in those circumstances served as a survival mechanism.
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While working on Beyond Zero: 1914–1918, I was inspired by anti-war writings, music and art created during and immediately after World War I, including, for example, the writings of Wilfred Owen and Siegfried Sassoon, the music of Satie and Debussy, and the Dada movement. The piece draws from their disillusionment about heroism and patriotism, summed up in Owen’s line from Dulce et Decorum Est — the old lie that it is sweet to die for one’s country.
Throughout the piece, there are several documentary recordings from different wars — from the horrific loyalty speech of James Watson Gerard, who served as U.S. ambassador to Germany from 1913 to 1917, to military commands of Serbian and Bosnian troops during the conflicts that led to the brutal disintegration of Yugoslavia in the 1990s, to the chilling sound of air-raid sirens during the bombing of London in World War II.
My intention was to juxtapose these historical accounts of war with the finest expressions of spirit and creativity occurring at the same time — therefore Béla Bartók’s own playing of his Piano Suite, written in 1916, and Huelsenbeck’s reading of his Chorus Sanctus, written the same year. A girl calling her cats is a symbolic reminder of suffering of women and children and of longing for lost safety and domesticity. Beyond Zero: 1914–1918 ends with fragments of a dark Byzantine hymn Eternal Memory to the Virtuous, chanted by the monks from the Kovilj monastery in Serbia, in remembrance to all who lost their lives in the Great War and every war since then.
–Aleksandra Vrebalov
The filmThe film portion of Beyond Zero: 1914–1918 is comprised of films that have never been seen by modern audiences. I searched archives for rare 35mm nitrate films shot during the Great War, and made new brand new HD scans from the originals. In many cases this is the last expression of these films — some original copies were determined not to be worth preserving beyond this transfer to digital media.
What we are left with is a glimpse of a war fought in fields, in trenches and in the air. Most of the
footage shows some emulsion deterioration — the by-product of a history stored on an unstable base for 100 years. Through a veil of physical degradation and original film dyes, we see training exercises, parades and troop movement. Some of the battle footage was re-enacted for the camera, and some depicts actual live rounds. All of it was shot on film at the time of the conflict.
We see a record of a war as a series of documents passed along to us like a message in a bottle. None is more powerful than the record of the film itself, made visible by its own deterioration. We are constantly reminded of its materiality: This film was out on these same fields with these soldiers 100 years ago, a collaborator, a survivor. It is being seen now as a digital image for the first time.
If these are images that we, as viewers, were once intended to see, to convince us of the necessity and valor of war, they now read as images that have fought to remain on the screen. They are threatened on all sides by the unstable nitrate base they were recorded on, and the prism of nearly 100 uninterrupted years of war, through which we now view them.
–Bill Morrison
Aleksandra Vrebalov (b. 1970)Aleksandra Vrebalov, a native of the former Yugoslavia, left Serbia in 1995 and continued her education in the United States. She holds a BA in composition from Novi Sad University in Serbia, a master’s in music from San Francisco Conservatory of Music and doctorate in composition from the University of Michigan. She lives in New York City.Vrebalov, named 2011 Composer of the Year by Muzika Klasika (for her opera Mileva, commissioned by the Serbian National Theater for its 150th anniversary season), has received awards from American Academy of Arts and Letters, Vienna Modern Masters, ASCAP, Meet the Composer, Douglas Moore Foundation and two Mokranjac Awards, given by Serbian Association of Composers for best work premiered in the country in 2010 and 2012.
Vrebalov has had her works performed by the Kronos Quartet, David Krakauer, ETHEL, Jorge Caballero, Serbian National Theater and Belgrade
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Philharmonic, among others. Vrebalov has been commissioned by Carnegie Hall, Brooklyn Youth Chorus, Barlow Endowment, Clarice Smith Performing Arts Center, Merkin Hall, San Francisco Conservatory and Louth Contemporary Music Society (Ireland). Her works have been choreographed by Dusan Tynek Dance Theater (New York), Rambert Dance Company (United Kingdom), Take Dance (New York), and Providence Festival Ballet. Her music has been used in two films dealing with atrocities of war: Soul Murmur directed by Helen Doyle (Canada), and Slucaj Kepiro by Natasa Krstic (Serbia).
Vrebalov’s string quartet …hold me, neighbor, in this storm… was written for and recorded by Kronos for the album Floodplain. Her string quartet Pannonia Boundless, also for Kronos, was published by Boosey & Hawkes as part of the Kronos Collection, and recorded for the album Kronos Caravan. For more information please see aleksandravrebalov.com.
Bill Morrison (b. 1965)Bill Morrison’s films often combine archival film material with contemporary music. He has collaborated with some of the most influential composers of our time, including John Adams, Laurie Anderson, Gavin Bryars, Dave Douglas,
Richard Einhorn, Philip Glass, Michael Gordon, Henryk Górecki, Bill Frisell, Vijay Iyer, Jóhann Jóhannsson, David Lang, Julia Wolfe and Steve Reich, among many others.Decasia (67 minutes, 2002), a collaboration with the composer Michael Gordon, was selected to the Library of Congress’ 2013 National Film Registry, becoming the most modern film named to the list that preserves works of “great cultural, historic or aesthetic significance to the nation’s cinematic heritage.” Morrison’s films are also in the collection of the Museum of Modern Art, Walker Art Center and the EYE Film Institute. He is a Guggenheim fellow and has received the Alpert Award for the Arts, an NEA Creativity Grant, Creative Capital, and a fellowship from the Foundation for Contemporary Arts. His theatrical projection design has been recognized with two Bessie awards and an Obie Award.In 2013, Morrison was honored with retrospective programs in four different countries: the Walker Art Museum, Minneapolis; the Vila Do Conde Short Film Festival, Portugal; the Adelaide Film Festival, Australia; and the Aarhus Film Festival, Denmark.The Great Flood will open theatrically in 2014 and The Miners Hymns will tour with live musical performances in the United States and United Kingdom.Morrison will have a mid-career retrospective at New York’s Museum of Modern Art, October through November, 2014.Morrison’s work is distributed by Icarus Films in North America, and the BFI in the U.K. Beyond Zero: 1914–1918, with music by Aleksandra Vrebalov and film by Bill Morrison, is supported in part by an award to the Kronos Performing Arts Association from the National Endowment for the Arts. Additional funding for the project is provided by The MAP Fund, supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation.Beyond Zero: 1914–1918 was commissioned for the Kronos Quartet by Cal Performances; National World War I Museum at Liberty Memorial and Harriman-Jewell Series, Kansas City, Missouri; and Hopkins Center, Dartmouth College.
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Kronos QuartetFor more than 40 years, the Kronos Quartet—David Harrington, violin, John Sherba, violin, Hank Dutt, viola, and Sunny Yang, cello—has pursued a singular artistic vision, combining a spirit of fearless exploration with a commitment to continually re-imagining the string-quartet experience. In the process, Kronos has become one of the most celebrated and influential groups of our time, performing thousands of concerts worldwide, releasing more than 50 recordings of extraordinary breadth and creativity, collaborating with many of the world’s most intriguing and accomplished composers and performers, and commissioning more than 800 works and arrangements for string quartet. In 2011, Kronos became the only recipients of both the Polar Music Prize and the Avery Fisher Prize, two of the most prestigious awards given to musicians. The group’s numerous awards also include a Grammy for Best Chamber Music Performance (2004) and Musicians of the Year (2003) from Musical America.Kronos’ adventurous approach dates back to the ensemble’s origins. In 1973, David Harrington was inspired to form Kronos after hearing George Crumb’s Black Angels, a highly unorthodox, Vietnam War–inspired work featuring bowed water glasses, spoken word passages and electronic effects. Kronos then began building a compellingly diverse repertoire for string quartet, performing and recording works by 20th-century masters (Bartók, Webern, Schnittke), contemporary composers (John Adams, Osvaldo Golijov, Aleksandra Vrebalov), jazz legends (Ornette Coleman, Charles Mingus, Thelonious Monk), rock artists (guitar legend Jimi Hendrix, Brazilian electronica artist Amon Tobin and Icelandic indie-rock group Sigur Rós), and artists who truly defy genre (performance artist Laurie Anderson, composer/sound sculptor/inventor Trimpin, interdisciplinary composer/performer Meredith Monk).Integral to Kronos’ work is a series of long-running, in-depth collaborations with many of the world’s foremost composers. One of the quartet’s most frequent composer-collaborators is “Father of Minimalism” Terry Riley, whose work with Kronos includes Salome Dances for Peace (1985–86); Sun Rings (2002), a multimedia, NASA-commissioned ode to the earth and its people, featuring celestial
sounds and images from space; and The Serquent Risadome, which premiered during Kronos’ “40th Anniversary Celebration” at Carnegie Hall in 2014. Kronos commissioned and recorded the three string quartets of Polish composer Henryk Górecki, with whom the group worked for more than 25 years. The quartet has also collaborated extensively with composers such as Philip Glass, recording a CD of his string quartets in 1995 and premiering String Quartet No. 6 in 2013, among other projects; Azerbaijan’s Franghiz Ali-Zadeh, whose works are featured on the full-length 2005 release Mugam Sayagi; Steve Reich, from Kronos’ performance of the Grammy-winning composition Different Trains (1989) to the Sept. 11–themed WTC 9/11 (2011); and many more.In addition to composers, Kronos counts numerous performers from around the world among its collaborators, including the Chinese pipa virtuoso Wu Man; Azeri master vocalist Alim Qasimov; legendary Bollywood “playback singer” Asha Bhosle, featured on Kronos’ 2005 Grammy-nominated CD You’ve Stolen My Heart: Songs from R.D. Burman’s Bollywood; Inuit throat singer Tanya Tagaq; indie rock band The National; Mexican rockers Café Tacvba; sound artist and instrument builder Walter Kitundu; and the Romanian gypsy band Taraf de Haïdouks. Kronos has performed live with the likes of Paul McCartney, Allen Ginsberg, Zakir Hussain, Modern Jazz Quartet, Noam Chomsky, Rokia Traoré, Tom Waits, David Barsamian, Howard Zinn, Betty Carter and David Bowie, and has appeared on recordings by artists such as Nine Inch Nails, Dan Zanes, DJ Spooky, Dave Matthews, Nelly Furtado, Joan Armatrading and Don Walser. In dance, the famed choreographers Merce Cunningham, Paul Taylor, Twyla Tharp, Eiko & Koma, and Paul Lightfoot and Sol León (Nederlands Dans Theater) have created pieces with Kronos’ music.Kronos’ work has also featured prominently in a number of films, including two recent Academy Award–nominated documentaries: the AIDS-themed How to Survive a Plague (2012) and Dirty Wars (2013), an exposé of covert warfare for which Kronos’ David Harrington served as music supervisor. Kronos also performed scores by Philip Glass for the films Mishima and Dracula (a 1999 restored edition of the 1931 Tod Browning–Bela Lugosi classic) and by Clint Mansell for the Darren Aronofsky films Noah (2014), The Fountain (2006) and Requiem for a Dream (2000). Additional films
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featuring Kronos’ music include 21 Grams (2003), Heat (1995) and True Stories (1986).The quartet spends five months of each year on tour, appearing in concert halls, clubs, and festivals around the world including Lincoln Center Out of Doors, BAM Next Wave Festival, Carnegie Hall, the Barbican in London, WOMAD, UCLA’s Royce Hall, Amsterdam’s Concertgebouw, Shanghai Concert Hall and the Sydney Opera House. Kronos is equally prolific and wide-ranging on recordings. The ensemble’s expansive discography on Nonesuch Records includes collections like Pieces of Africa (1992), a showcase of African-born composers, which simultaneously topped Billboard’s Classical and World Music lists; 1998’s ten-disc anthology, Kronos Quartet: 25 Years; Nuevo (2002), a Grammy- and Latin Grammy–nominated celebration of Mexican culture; and the 2004 Grammy-winner, Alban Berg’s Lyric Suite, featuring renowned soprano Dawn Upshaw. Other recent releases include Rainbow (Smithsonian Folkways, 2010), in collaboration with musicians from Afghanistan and Azerbaijan; and Aheym: Kronos Quartet Plays Music by Bryce Dessner (Anti-, 2013). Kronos’ two most recent releases, unveiled by Nonesuch simultaneously in 2014 in celebration of the Quartet’s 40th Anniversary Season, are Kronos Explorer Series, a five-CD retrospective boxed set; and the single-disc A Thousand Thoughts, featuring mostly unreleased recordings from throughout Kronos’ career. Music publishers Boosey & Hawkes and Kronos have released two editions of Kronos Collection sheet music: Volume 1 (2006), featuring three Kronos-commissioned works; and Volume 2 (2014), featuring six Kronos-commissioned arrangements by composer Osvaldo Golijov.In addition to its role as a performing and recording ensemble, the quartet is committed to mentoring emerging performers and composers and has led workshops, master classes, and other education programs via the San Francisco Conservatory of Music, the California State Summer School for the Arts, Carnegie Hall’s Weill Institute, The Barbican in London, and other institutions in the U.S. and overseas. Kronos has recently undertaken extended educational residencies at the University of California, Berkeley’s Cal Performances, the Clarice Smith Performing Arts Center at the University of Maryland, the Special Music School at the Kaufman Music Center in New York City and the Malta Arts
Festival.With a staff of 10 based in San Francisco, the non-profit Kronos Performing Arts Association manages all aspects of Kronos’ work, including the commissioning of new works, concert tours, concert presentations in the San Francisco Bay Area, education programs and more. One of KPAA’s most exciting initiatives is the Kronos: Under 30 Project, a unique commissioning and residency program for composers under age 30 that has now added five new works to the Kronos repertoire. By cultivating creative relationships with emerging and established artists from around the world, Kronos and KPAA reap the benefit of decades of wisdom while maintaining a fresh approach to music making.
For the Kronos Quartet/Kronos Performing Arts Association:
Janet Cowperthwaite, Managing DirectorLaird Rodet, Associate Director
Matthew Campbell, Strategic Initiatives DirectorSidney Chen, Artistic AdministratorRandy Ellis, Operations Associate
Scott Fraser, Sound DesignerChristina Johnson, Communications and New
Media ManagerNikolás McConnie-Saad, Office Manager
Hannah Neff, Production AssociateLucinda Toy, Business Operations Manager
Contact:Kronos Quartet/Kronos Performing Arts Association
P. O. Box 225340 San Francisco, CA 94122-5340
kronosquartet.orgfacebook.com/kronosquartet
Twitter: @kronosquartet #kronos
The Kronos Quartet records for Nonesuch Records.
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V ictoria Kel ly – Spiritual Guide, V ictorious Life Ministry Frames – Face a Face Karma
Real Faces •Real Fit •Real Fashion303-443-4311 • www.winkoptical.net3301 30th Street, Boulder, CO 80301 2008-2014
& ListenStomp, Look
The Center Stage Club offers online versions of CU Presents Magazine for
patrons to read before performances. 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
.com
18 | | cupresents.org
www.BoulderPhil.org303.449.1343 ext. 2 Tickets start at $13; Students $5!
Choose 3 or more concerts and save 10%!
Opening Night: ScheherazadeSEP. 14, 2014—7 PM at MackyGABRIELA MARTINEZ, PIANOCHARLES WETHERBEE, VIOLINSAINT-SAËNS Piano Concerto No. 2
Stravinsky’s Firebird SuiteOCT. 11, 2014—7:30 PMTWYLA ROBINSON, SOPRANO BRIAN JONES, TIMPANISTRAUSS Four Last SongsSIBELIUS • GRIFFES
Piano Legends: The Music of Billy Joel & Elton JohnNOV. 8, 2014—7:30 PM
The Nutcracker BalletNOV. 28-30, 2014
Beethoven’s “Emperor” ConcertoJAN. 17, 2015—7:30 PMCONRAD TAO, PIANOBEETHOVEN Creatures of Prometheus
Legendary LoveFEB. 14, 2015—7:30 PM PHILIPPE QUINT, VIOLINCORIGLIANO The Red Violin Concerto
Season Finale:Dvořák’s Cello ConcertoAPR. 25, 2015—7:30 PM ZUILL BAILEY, CELLOBARTÓK Concerto for Orchestra
All concerts are at Macky Auditorium, CU Campus, Boulder
MICHAEL BUTTERMAN, MUSIC DIRECTOR
BOULDER
PHILHARMONIC
ORCHESTRA
2014-2015 SEASON
Legends: The Spirit of Boulder
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Faculty Tuesdays
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: Christina Jennings, flute
with David Korevaar, Andrew Cooperstock and more
SEPTEMBER 16: Elizabeth Farr, harpsichord
Bach Preludes and Fugues—Take two!
SEPTEMBER 23: Alejandro Cremaschi, piano
Unos y Dos Pianos del Sur
SEPTEMBER 30: Charles Wetherbee, violin
with David Korevaar and friends
OCTOBER 7: Matthew Chellis, tenor
and friends
OCTOBER 14: Hsing-Ay Hsu
Musikabend: Brahms
OCTOBER 21: Nicolò Spera, guitar
German Poetry: Johann Sebastian Bach
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
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.
20 | | cupresents.org
| 303.492.8008 | 21
Open 7 Days a Week. Always Free.Located on CU Main Campus
Henderson Bldg., 15th & Broadway.
303-492-6892cumuseum.colorado.edu
University of Colorado Museum of Natural History
A Boulder County TraditionHours: 10-6 daily Sept. 27 – Oct. 31
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Come visit our tree lot opening November 28 – Christmas!
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Boulder Piano Gallery is a hub of musical activity in Boulder County and the premier place to purchase a �ine quality new or used piano.
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.
Now carrying the gorgeous hand-built Shigeru Kawai grand pianos!
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Artist Series
BENEFACTORMark and Margaret CarsonCarson-Pfafflin Family FoundationGreg Silvus and Melanie MillerEllen and Joshua Taxman
SPONSORDiane and Richard DunnDaryl and Kay JamesMary LamyLouise Pearson and Grant Couch
PATRONAnonymousJoan McLean BraunChris and Barbara ChristoffersenRuth Carmel KahnMidge KorczakHal OsteenScott Wiesner and Janet Ackermann
SUPPORTERAnonymousAlbert and Nancy BoggessFiona and Marv CaruthersCarol and Michael GallucciDoree and Jerry HickmanMyra JacksonSusan and Jon LounsburyHeidi and Jerry LynchJanet and Scott MartinRobert and Sandra McCalmonJudy and Alan MegibowJerry and Jamie OrtenMikhy and Michael Ritter Alicia and Juan RodriguezLawrence and Ann Thomas
CONTRIBUTOREllen and Dean BoalNorma Ekstrand and Tom CampbellMarty Coffin Evans and
Robert TremblyHarold and Joan LeinbachRobert and Francine MyersBarbara and Irwin NeulightGary and Beth RauchStephanie and Alan RudyKenneth Pope and Christine Willis
MEMBERDavid BeausangGil and Nancy BermanShirley CarnahanPauline and Noel ClarkCatherine CloutierKenneth DellFran EvansLeslie and Merrill GlustromJohn Graham and Lorin LearGregory and Gladeane LefferdinkPamela LelandJudah and Alice LevineThomas and Gail MaddenPaul and Kay McCormickJanet and Hunter McDanielTammy NoirotKim and Rich PlumridgeRandall RutschRuth Shanberge in memory
of Carol SeidemanMary Ann Shea and Steven MeyrichCourtland and Carolyn SpicerZoe StiversRandi and Anthony StrohTom and Karen ThibodeauLloyd Timblin Jr.Geoffrey TyndallDerek Van WestrumVince and Caroline Wayland
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.
CORPORATE SPONSORS:Caplan & EarnestCenter Copy Boulder, Inc.Frasier Meadows RetirementH.B WoodsongsHurdle’s JewelryJames & Associates, LLCRoser Visiting Artist EndowmentShaw ConstructionWESTAF
IN-KIND SPONSORSBoulder WeeklyColorado Public RadioThe Daily CameraFlowers in BloomHotel BoulderadoKUNCKUVOLiquor MartThe Pines Catering
Explore your options: conted.colorado.edu
Be Inspiring.Pursue your passion. Advance your degree.
Takács Society
BENEFACTORAlbert and Nancy BoggessGary and Judith Judd in memory
of Fay ShwayderNorma R. Johnson Fund in memory
of Fay Shwayder
SPONSORPamela DeckerJanet and David RobertsonMarion Thurnauer and
Alexander Trifunac
PATRONCatharine Hawkins FoundationThomas and Carol CechChris and Barbara ChristoffersenCarol Lena KovnerKathleen SullivanThe Takacs QuartetJohn and Carson Taylor
SUPPORTERAnonymousRobert R. KehoeWalter and Eileen KintschLise MennVirginia M. NewtonNewton Family Fund, Inc.Neil and Martha PalmerMikhy and Michael RitterSusan and David SeitzLawrence and Ann ThomasJames and Lena Wockenfuss
CONTRIBUTORVirginia and Stanley BoucherWilliam and Alice BradleyChristopher and Margot BrauchliNoel and Pauline ClarkHarold and Joan LeinbachNancy and Paul LevittPatricia and Robert LisenskyCheryl Stevenson and James CannonStevenson-Cannon Family FundLynn StreeterRandi and Anthony StrohPatricia Thompson
MEMBERLois AbbottMaria and Jesse AweidaTed and Ingrid BecherMarda BuchholzKevin and Diana BunnellPatricia ButlerShirley CarnahanPenny CheneryCharlotte CorbridgeJoann and Richard CrandallBarbara and Carl DiehlCarolyn and Don EtterMarcia Geissinger and Neil AshbyMary and Lloyd GelmanSteve Goldhaber and
Mariana Goldhaber-VertensteinDianne and Kenneth HackettDavid HammerJon and Liz HinebauchBruce and Kyongguen JohnsonJennifer and Bob KamperCaryl and David KassoyMireille KeyAlice and Judah Levine
Albert and Virginia LundellHeidi and Jerry LynchKamilla MacarThomas and Gail MaddenCaroline MaldeNancy and John MalvilleMaxine MarkJ. Richard and Marjorie McIntoshPeter and Doris McManamonChristopher Mueller and
Martha WhittakerJoan NordgrenAlison and Graham OddieJoanie OramJulie and Wayne PhillipsArthur and Ina RifkinJoanna and Mark RosenblumJoAn SegalRuth Shanberge in memory
of Carol SeidemanTodd and Gretchen SlikerGrietje SloanCarol and Art SmootJan and Charles SquierHelen StoneBerkley TagueLaurie and Arthur TraversMary and Peter Van EttenBetty Van ZandtThomas VanZandtChristopher and Leanne WaltherBill WoodM. Yanowitch
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.
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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.
| 303.492.8008 | 25
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Friends of CU Opera
BENEFACTORAnonymousThe Academy Charitable
Foundation, Inc.Allen Family FundPaul EklundBob GrahamAnn Oglesby
SPONSORAlan and Martha Stormo
PATRONChris and Barbara ChristoffersenAlbert and Betsy HandBob and Mikee KapelkeKen and Ruth WrightWright Family Foundation
SUPPORTERAnonymousCaulkins Family FoundationJohn HedderichJo and David HillMikhy and Mike RitterRotary International District # 5450Lawrence and Ann Thomas
CONTRIBUTORDonna and Ken BarrowJim and Judith BowersWalt and Mary Ruth DuncanMartha Coffin Evans and
Robert TremblyDavid and Janet HummerHarold and Joan LeinbachBurr LloydDave and Ann PhillipsPeter Wall
MEMBERJudith Auer and George LawrenceBob Burnham and Gail PromboinAllene CashBen and Gale ChidlawWallace and Beryl ClarkPeter and Joan DawsonRichard and Margaret DillonEllen and John GilleSteve Goldhaber and
Mariana Goldhaber-VertensteinSusan GraberJanet HanleyLinda L. JohnsonFrank and Marion KreithNicholas and Mollie LeePatricia and Robert LisenskyHeidi and Jerry LynchBruce MackenzieMarian MathesonByron and Cathy McCalmonDenise McCleary and Paul Von BehrenCorinne McKayRichard and Donna MeckleyPat and Bob MeyersMarilyn NewsomMargaret OakesRobert and Marilyn PeltzerDennis PetersonJuan and Alicia RodriguezElaine SchnabelRuth SchoeningJoAnn Silverstein and Nevis CookHelen StoneDaniel Urist
GRANTSDenver Lyric Opera GuildGalen & Ada Belle Spencer FoundationLouis and Harold Price FoundationRoser Visiting Artist EndowmentThe Schramm Foundation
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.
28 | | cupresents.org
| 303.492.8008 | 29
Season tickets on sale now!
University Theatre SeriesOur 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 $12For full events listing: colorado.edu/theatredance
2014–2015 Seasoncupresents.org 303-492-8008
CU Theatre & Dance
New to the opera? Here are a few tipsCU 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 non-aficionados. 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
Personnel
COLLEGE OF MUSIC ADVISORY BOARDRobert Shay, DeanJames R. Austin Chris BrauchliSteve BrunsBob BuntingJan BurtonJohn DavisPaul EklundBill wElliottMartha Coffin EvansJonathan FoxDavid FulkerGrace GammLissy GarrisonLloyd GelmanDoree HickmanDavid HummerDaryl JamesCaryl KassoyRobert KorenblatErma ManteyJoe NeglerSusan OlenwineMikhy Ritter, co-chair Becky Roser, co-chair Mark TezakJeannie ThompsonJack Walker
HONORARY DIRECTORSDean BoalBob CharlesEileen ClineDonna ErismannDave Grusin
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 DirectorNick Vocatura, Operations DirectorLaima Haley, Marketing DirectorClay Evans, Communications DirectorDaniel C. Leonard, Marketing
and Public Relations CoordinatorKaren Schuster, Graphic DesignerRachel Dodson, Emily Scraggs,
Colin Wichman, Public Relations Assistants
Stephanie Doctor, Programs AssistantMargaret Romero, Production AssistantAndrew Metzroth, Box Office ManagerMichael Casey, Box Office Services
CoordinatorCiara Glasheen-Artem, Sydney Bogatz,
Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants
Kevin Harbison, Recording EngineerNancy Quintanilla, Financial ManagerTed Mulcahey, Piano Technician
MACKY AUDITORIUM STAFF Rudy Betancourt, DirectorSara Krumwiede, Assistant DirectorJohn Jungerberg, Operations ManagerJP Osnes, Technical DirectorRojana 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.
30 | | cupresents.org
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