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

2 0 1 3 – 2 0 1 4 S e a s o nCU Symphony Orchestra

experience themusic

A whimsical delight for the entire family!

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

BOULDER BALLET & the BOULDER PHILHARMONIC ORCHESTRApresent

November 29 through December 1Macky Auditorium, CU campus

Get your tickets today!Box Office: 303.449.1343 or online: boulderballet.org

Melissa Heslep. Photo by Sue Daniels

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Table of ContentsCU Presents Staff 6CU Presents Ticket Policy 6Theatre/Dance Season 8Program P 1-4Faculty Tuesdays 22Artist Series Donors 24Takács Quartet Donors 26CU Opera Donors 28Upcoming AS Presentations 30CU Opera 32CU Presents Season 34

| www.cupresents.org4 |

ADVERTISING INFORMATIONThis program is produced for CU Presents by The Publishing House, a division of Colorado Word Works, Inc.

Angie Flachman Johnson, PublisherAnnette Allen, Art Director and Production CoordinatorStacey Krull, Graphic Design & LayoutWilbur E. Flachman, President

For advertising information, call 303-428-9529

7380 Lowell Blvd., Westminster, CO 80030www.coloradoartspubs.com

College of Music Advisory Board

James Austin, Interim DeanChristopher BrauchliRobert F. BuntingJan BurtonColeen ConantMartha Coffi n EvansTyler M. FormanJonathan R. FoxDavid W. FulkerGrace GammLissy GarrisonLloyd GelmanDoree D. HickmanSuzanne A. HooverDavid G. HummerDaryl K. JamesGary S. JoinerCaryl F. KassoyRobert KorenblatThurston E. ManningErma M. ManteyJoseph T. NeglerSusan J. OlenwineMichele RitterRebecca J. RoserSteven K. TaniguchiJeannie ThompsonJack Walker

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

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

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

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

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

Warm regards,

Joan McLean BraunExecutive Director

From the Executive Director

Everyone has a voice.Shouldn’t yours be heard?

Don’t take your voice for granted. A weak, breathy, hoarse, scratchy,strained, or graveled voice often indicatesa problem. Hoarseness lasting longerthan a few weeks probably isn’t“laryngitis.”

Dr. J. Michael King treats the fullspectrum of ear, nose, and throatdisorders. He is an otolaryngologist and afellowship-trained laryngologist (voicespecialist) providing care to singers,performers, and professional speakers.

As one of only a few specialists in the Western region who performsminimally invasive officeprocedures, balloon sinuplasty, and laser surgery, Dr. King isalways willing to take the time to explain options to help you decide what treatment is rightfor you.

Services and treatments include-• Minimally invasive office procedures of the throat and sinuses

• Laser surgery of the vocal cords

• Treatments for pre-cancerous lesions or early throat cancers

• Microsurgery for vocal cord polyps or cysts

• Botox injections for spasmodic dysphonia

• Voice restoration for vocal cord paralysis

• Esophagoscopy and evaluation for reflux

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

J. Michael King, MD

Offices in Broomfield & Golden403 Summit Blvd., Suite 204Broomfield, CO 80021

1030 Johnson Road, Suite 350Golden, CO 80401

310

204

Imig Music Building

UNIVERSITYCLUB(Box Office)

EuclidAvenueAutopark

Colorado Avenue

18th

St.

Broadway

bike path

Euclid

Pleasant St.

University Ave. 18th St.17th St.

Lot380

Grusin Music HallChamber HallMusic Theatre

Lot

Lot

ATLAS

MACKY

N

UniversityTheatre

Hellems Artsand Science

MaryRipponTheatre

Education

University TheatreLoft TheatreActing StudioIrey York Theatre

EventLot

UMC

Joan McLean Braun, Executive DirectorClay Evans, Public Relations DirectorLaima Haley, Marketing DirectorMyra Jackson, Programs and Scheduling ManagerNick Vocatura, Operations DirectorDaniel C. Leonard, Marketing and Public Relations CoordinatorKaren Schuster, Graphic DesignerCourtney Pomeroy, Public Relations AssistantEmily Scraggs, Public Relations AssistantStephanie Doctor, Programs and Scheduling AssistantAndrew Metzroth, Box Offi ce ManagerKatrina DeVore, Box Offi ce Services CoordinatorSydney Bogatz, Ciara Glasheen-Artem, Starla Doyal, Christine Herwig, Lucas Munce, Harper Nelson, Kayla Pinney, Melanie Shaffer, Box Offi ce AssistantsKevin Harbison, Recording EngineerNancy Quintanilla, Accounting TechnicianTed Mulcahey, Piano Technician

MACKY AUDITORIUM STAFFRudy Betancourt, DirectorAngela Venturo, Associate DirectorJ. P. Osnes, Technical DirectorRojana Savoye, House ManagerChelsea Ayers, Assistant House Manager

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

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

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

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

• Photographic and recording devices are prohibited.

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

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

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

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

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

| www.cupresents.org6 |

Right Center Left

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Orch. 1 Orch. 1

Right Center Left

Stage

Row L Row L

Row A Row A

Row I

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Music Theatre

Row A

LJ

22 |21 |20 |19 |18 |17 |16 |15 | 14 | 13 | 12 | 11 | 10 | 9 | 8 | 7 | 6 | 5

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Balcony

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5 | 4 1

20 |19 |18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10

19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11

19 |18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 9

20 |19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 9

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1 2 3 4 5 6 7 8 9 10 11 12 13

1 2 3 4 5 6 7 8 9 10 11 12

1 2 3 4 5 6

7

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1 2 3 4 5 6 7

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9 10 11

1 2 3 4 5 6 7 8

9 10 11 12

1 2 3 4 5 6 7 8 9 10 11 12 13 14

1 2 3 4 5 6 7 8 9 10 11 12 13 14

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8 7

6 5

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9 8

7 6

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14 13

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13 12

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13 12 11 10 9 8 7 6 5 4 3 2 1

12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Dress CircleOrchestraUpper Circle

5 6 7 8 9

5 6

7 8

9

5 6 7 8 9 10 11 12 13 14

5 6

7 8

9 10 11 12 13

5 6

7 8 9 10 11 12

5 6

7 8

9 10 11

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10

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22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

14 13 12 11 10 9 8 7 6 5 4 3 2 1

MARY RIPPON OUTDOOR THEATRE

STAGE

9

8 7

6 5

4 3

2 1

12 11 10 9 8 7 6 5 4 3 2 1

Right

Center

Left

9

8 7

6 5

4 3

2 1

Grusin Music Hall (500 seats) Music Theatre (250 seats)

Macky Auditorium (2000

UniversityTheatre

(400 seats)

Mary Rippon Outdoor Theatre

(1000 seats)

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| www.cupresents.org8 |

Dance

TICKETS NOW ON SALE

colorado.edu/theatredance

Full season available online

| 303-492-8008 | 9

Congratulationsto the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody,

percussion and passion to our community.

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

For subscription information call 303.444.3444 or visit DailyCamera.com.

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| www.cupresents.org12 |

Every gift makes a big difference! Our concerts and productions depend on private donations from audience members like you. We encourage you to use the envelope in the center of this program to make a gift that will help us continue to bring global performance and world class entertainment to Boulder! Simply give your envelope to an usher or mail it back to us. Donations can also be made online at cupresents.org or by calling 303-735-6070. Thank-you for your support!

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| www.cupresents.org16 |

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UNIVERSITY SYMPHONY ORCHESTRA

GARY LEWIS, conductor

with

JEREMY DENK, piano

PROGRAM

Overture to The Magic Flute, K. 620 Wolfgang Amadeus Mozart (1756-1791)

Piano Concerto No. 1 in E-flat Major, S124 Franz Liszt Allegro maestoso (1811-1886) Quasi Adagio Allegretto vivace. Allegro animato Allegro marziale animato

Jeremy Denk, piano

Intermission

Symphony No. 2 in E Minor, Op. 27 Sergei Rachmaninoff Largo - Allegro moderato (1873-1943) Allegro molto Adagio Allegro vivace

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PROGRAM NOTESOverture to Wolfgang Amadeus Mozart The Magic Flute

Mozart’s life began with unlimited possibility and ended in utter tragedy, and one can look at his final year, 1791, in the same light. Despite all of the frustrations he’d endured during his decade in Vienna, where fickle music-lovers turned away from him and embraced the flavor of the month, he had every reason to feel optimistic about things as the year unfolded. Yes, he had accumulated unpayable debts—but Prague had cheered Le Nozze di Figaro and Don Giovanni (the latter premiered in that Czech city). He had happily agreed to another opera commission for Prague: La Clemenza di Tito. In Vienna, it appeared he was in line to accept the coveted music directorship of St. Stephen’s Cathedral during the following year. England had convinced him to return for a potentially lucrative tour. In the midst of all that came commissions for new works (including the legendary request for a Requiem). And then, there was the offer from Mozart’s dear friend, theater owner Emanuel Schickaneder, to collaborate on a comic opera. Schickaneder had given Mozart’s family free admission to his Theater-auf-der-Wieden in 1789, and the composer responded with music for two productions there, Thamos and Zaïde. The theater had attracted an enthusiastic audience for earthy, German-language entertainment that thumbed its nose at snooty Italian operas (which, of course, Mozart had also created). Schickaneder suggested Die Zauberflöte, a story drawn from a collection of Oriental fairy tales. A mixture of music and spoken dialogue (known as Singspiel), this would be a work of fantasy, love, silliness and more than a touch of Freemasonry philosophy (Mozart and Schickaneder were both followers). Mozart jumped at the offer, naively agreeing to accept fees from future stagings in place of a cash advance, much to the disapproval of the composer’s wife (Schickaneder later reneged, prompting a protracted legal battle with Mozart’s widow). The storyline of The Magic Flute is too cumbersome to describe here—and, in any case, the remarkable Overture has little connection to the plot. Aside from those three ominous opening chords (three was an important number for the Freemasons), none of the tunes appear in the opera. Instead, we hear Mozart music at its most inspired and joyous: The solemn introduction leads into a dizzying theme introduced in fugue-like fashion that momentarily halts midway through. Those three imposing chords appear again, before the musical romp returns. Despite its curious plot twists and cast of exotic characters (with Schickaneder singing the comical bird-catcher Papageno at the premiere), Magic Flute was an instant hit when it was unveiled in September, 1791. By the early 1800s, it was being staged in opera houses everywhere. Mozart, alas, would not be around to enjoy its success: He died a few weeks after the premiere.

Piano Concerto No. 1 in E-flat Franz Liszt

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

energy and self-confidence. Boldly dismissing the “old-fashioned” compositions being written then by Schumann, Mendelssohn and Brahms, Liszt embraced the new world of Richard Wagner, in which traditional chord progressions and familiar formulas were banished. Instead, music would travel in unpredictable ways and with greater power and passion. Even the long-standing form of the concerto could be toyed with. Liszt’s two piano concertos were begun in 1839, the E-flat completed a full ten years later—with help on the orchestration from Joachim Raff. In this first Concerto, premiered in 1855 with Berlioz conducting, Liszt tossed aside the usual three-movement format, expanding to four linked-together sections. In another innovation, themes introduced early on re-appear later, creating a cyclical form that would also be utilized in his second concerto. Here, the explosive unison theme in the opening, a stern dialogue between orchestra and piano, pops up again near the end of the work. As Liszt had declared when discussing the attributes of a concerto, the E-flat is “clear in sense, brilliant in expression and grand in style.” Like so much of his approach to music and life, he elicited public responses ranging from admiration and awe to downright disgust, collecting enemies with his uncompromising arrogance. Liszt was the first to brazenly present full evenings of his solo music—critics scoffed when he coined a term for them: “recitals.” Many objected, as well, to his flamboyant flights of mind-numbing virtuosity. They railed against this concerto, particularly its surprising use of the triangle. Eduard Hanslick, an influential critic and ally of Brahms, mockingly called the piece a Triangle Concerto. Liszt, incidentally, instructed that “the triangle is here not to be beaten clumsily, but in a delicately rhythmical manner with resonant precision.” So there! Hanslick was not alone in his dislike: In 1868, a Boston critic described this music as “incoherent, uninspiring (and) frosty to the finer instincts.” It didn’t take long, however, for audiences to grow accustomed to the bigger-than-life dimensions of piano concertos (the modern instrument, it should be noted, was now better able to handle all that furious pounding). By the early 1900s, the E-flat Concerto had become as inescapable as those of Tchaikovsky, Brahms and Beethoven. In his day, Liszt had amazed his listeners with an unprecedented virtuosity (proper ladies in attendance were prone to fainting spells). These days, brilliant concert and recorded performances of his music are common. That said, watching a keyboard virtuoso attack this mind-boggling concerto remains as awe-inspiring today as it must have been 160 years ago, when the dashing Franz Liszt drove the ladies and the critics mad.

Symphony No. 2 in E Minor Sergei Rachmaninoff

Stravinsky once referred to the lanky Rachmaninoff as “a six-and-a-half-foot scowl.” A playful description perhaps, since, despite his imposing countenance, Rachmaninoff was a warm and sociable fellow. Stravinsky’s description certainly can’t be supported by the love-drenched romanticism of the Second Symphony. This is music that exudes an all-embracing love, containing hardly a drop of darkness or cynical thoughts, so common in Russian music. No one would have blamed the composer for dipping into those emotions, considering the results of his first attempt at writing a symphony. The premiere of that work in 1897 was a humiliating disaster. Rachmaninoff called it “the most agonizing hour

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of my life.” The conductor, Alexander Glazunov, was reportedly drunk and unprepared. Critics in attendance were merciless (one suggested that the piece came from a conservatory in hell). Rachmaninoff was so depressed that he couldn’t write a note of music for three years. So, what broke the spell? Dr. Nicolai Dahl, that’s what. In 1900 (ah, the freshness of a new century!), the composer visited Dr. Dahl, a respected hypnotherapist, who guided Rachmaninoff into a relaxed state where he could find his creative spark. It’s a story often told, because it led to the creation of the immortal Second Piano Concerto (which was dedicated to Dr. Dahl). That breakthrough also resulted in a new, steady stream of music: piano pieces, a cello sonata, songs, two operas, etc. Triumph followed triumph, but perhaps the most satisfying of all was the heralded premiere of the Second Symphony. Still, that one didn’t come easily. In the years following his recovery from depression, Rachmaninoff had steadily built an international reputation as an extraordinary pianist and conductor. But the need to write a symphony continued to gnaw at him. To escape the curse of that terrible concert of 1897, Rachmaninoff and his family left Russia and settled in Dresden, where work was undertaken in secrecy. Word got out, however, causing him to reluctantly acknowledge the rumors: “I have composed a symphony. It’s true! I finished it a month ago and immediately put it aside. It was a severe worry to me and I am not going

to think about it anymore.” The work was premiered in St. Petersburg in January, 1908 with the composer conducting, and it was a hit, quickly making the rounds of the world’s concert halls. While it was universally praised, the Second Symphony was often judged too long and meandering in spots, causing conductors to make cuts in the score. Only in recent years has the work returned to its original state. Memorable tunes, sweeping episodes, grand climaxes and shimmering orchestration can be found on nearly every page. The opening movement is laid out on a huge scale, through a dramatic series of ebbs and flows—not to mention snippets of melodic material that will appear elsewhere. An energetic second movement bristles with new-found energy, serving as a perfect set-up for the sheer loveliness of the Adagio. Here, a brief opening song from the violins (which inspired Eric Carmen’s ’70s hit, “Never Gonna Fall in Love Again”) leads to a plaintive melody from the clarinet that seems the embodiment of love in all its glory. The robust finale once again presents an expansive theme by the strings—interrupted by the unexpected reprise of the Adagio’s love theme. As is heard in many of his works, the Symphony’s final bar proudly shouts out the composer’s signature, a unison statement of that deliciously rhythmic name—Rachmaninoff! —MARC SHULGOLD

“Mr. Denk, clearly, is a pianist you want to hear no matter what he performs, in whatever combination—both for his penetrating intellectual engagement with the music and for the generosity of his playing.“ – The New York Times

Jeremy Denk has established himself as one of America’s most thought-provoking, multi-faceted, and compelling artists. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London. He regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States. This season includes a return to Carnegie Hall in recital, as part of a 13-city tour of the U.S., as well as a performance of Bach’s complete set of six keyboard concertos in a single evening with the Chamber Music Society of Lincoln Center. Upcoming engagements include tours with the Australian Chamber Orchestra, the San Francisco Symphony, and the Academy of St. Martin in the Fields. Denk is known for his original and insightful writing on music, praised by Alex Ross for its “arresting sensitivity and wit.” Denk’s writing has appeared in the New Yorker, New Republic, and on the front page of the New York Times Book Review. His website “think denk,” recounting his experiences of touring, performing, and practicing, was recently selected for inclusion in the Library of Congress Web Archives. Denk looks forward to performing and curating as music director of the 2014 Ojai Music Festival, for which he is also composing the libretto to a semi-satirical opera.

JEREMY DENK In 2012, Denk made his debut as a Nonesuch Records artist with a pairing of masterpieces old and new: Beethoven’s final piano sonata and selected György Ligeti Etudes. The disc was named one of the best discs of 2012 by the New Yorker, NPR, and the Washington Post. Later this year, Denk will release a recording of Bach’s Goldberg Variations. He has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives’s two Piano Sonatas was selected for many “best of the year” lists. Last season, Denk was invited by Michael Tilson Thomas to appear as a soloist in the San Francisco Symphony’s “American Mavericks” festival, and he recorded Henry Cowell’s piano concerto with the orchestra. He has cultivated relationships with many living composers, and has several commissioning projects currently in progress. Denk has toured frequently with violinist Joshua Bell, and their album French Impressions was recently released on the Sony Classical label, winning the 2012 Echo Klassik award. He also regularly collaborates with cellist Steven Isserlis. He has appeared at numerous festivals, including the Italian and American Spoleto Festivals, and the Santa Fe Chamber Music, Verbier, Ravinia, Tanglewood, Aspen, and “Mostly Mozart” Festivals. He lives in New York City, and his web site and blog are at jeremydenk.net.

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UNIVERSITY SYMPHONY ORCHESTRA (alphabetical)

ViolinCallie BrennanJiHye ChungRyan CockmanSarah CranorMorgan DenneyKarlie DenosMatthew FarquharsonNina FronjianAlejandro Gomez- GuillenDanielle HeathLeslie Heinzen +Luke HillEsther HouMelanie HuskeyMarisa IshikawaEmily LenckPearce LittlerSummer Lusk*Cameron MayJulie NelsonBrookes PennellLauren Pokorzynski

Krystian SalvaCrystal SchneckenburgerJennifer SheaHannah SmithAustin StevensHaynn TangTracy ViatorBrittany WareT. J. Wessel

ViolaEmma CarpenterBergen ChristensenLaura EakmanDan FellowsAlexsa KuzmaCassandra MuellerMercedes QuintanaLacie SavageConrad SclarLauren SpauldingAnn ThomasAmy Tompkins*

CelloAris DoikeRobert ErhardEthan FallisRyan FarrisMadeline HarderAvery JohnsonMegan KnappTrevor MintonVela MrdjenGreta Parks*Cecelia Swanson

Double BassDante AscarrunzJessica BealCoire GeareMegan GoreIan HaegeleZach HislopTyler Honsel*Alex JeffersonAmanda Johnson

FluteRachelle CrowellCobus du ToitJoshua HallLeanne HamptonValerie JohnsonJana LangeMichael MoyAndrea MuranoKaty Wherry

OboeOlivia ErwinCiara GlasheenKelly SmestadTaylor WelshimerAbby Yeakle

ClarinetPeter BauerJacob BeemanCacob EichhornJunkai LaiMichael MoyMadison MunnJennifer O’ShaughnessyKellan Toohey

BassoonCameron BurnesMichelle GafneyKristen GoguenYahaira Nieves HornChristian BullerRebecca FathmanAngela FioriniJohn GeigerShannon HaganTaryn LeeKathrine SmithJonathan Spoon

TrumpetCarrie BlosserBrianne BordenAlex CaselmanJulianna ChairezCasey LawsonMatthew Smith

TromboneNathan GonzalesMark HsiehWill ShawDaniel Twentey

TubaGarrett Karlin

PercussionTodd BillsJacob BoriAntuon LopezSeth MillerDerek Sawyer

HarpKathryn Harms

PianoChristina Lalog

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Gary Lewis is Director of Orchestral Studies and Professor of Music in the College of Music at the University of Colorado Boulder. He is also the Music Director and Conductor of the Midland-Odessa (TX) Symphony Orchestra. At Colorado Mr. Lewis conducts the University Symphony Orchestra and oversees the entire orchestra program. He also leads the graduate program in orchestral conducting inc lud ing both the maste rs

and doctoral level. His graduate conducting students have enjoyed great success as conductors of university orchestra programs, youth orchestras, and professional orchestras alike. They have also won prestigious national conducting competitions and been awarded Fulbright grants.

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

Mr. Lewis is equally at home with professional, university, and youth ensembles. In addition to his regular position with the Midland-Odessa Symphony Orchestra, he has conducted performances with the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), the Western Plains Opera Theater, and the Lubbock Symphony Orchestra. Lewis served as the Resident Conductor of the Pine Mountain Music Festival (opera and symphonic) for seven years and was the founding conductor of the Caprock Pro Musica.

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

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

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

8-17-12_PAR-770_4.75x4.75_c_OL.indd 1 8/21/12 2:03 PM

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

September 24: A FRENCH SOIRÉE: Hsing-ay Hsu, piano, will be joined by faculty colleagues Jennifer Bird-Arvidsson, soprano, Andrew Cooperstock, piano, and Charles Wetherbee, violin with piano solos by Ravel including Scarbo and Debussy duets including songs from Recueil Vasnier, Violin Sonata, and Fêtes (4 hands).

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

October 8: ECLECTIC INFLUENCES: Daphne Leong (piano), with John Gunther, saxophone, Patrick Sutton, guitar, Douglas Walter, marimba, Carl Dixon, marimba, and Michael Tetreault, percussion. A cutting-edge mix of avant-garde new music, jazz, and soul infl uences, this program features the world premiere of Clear Sounds among Hills and Waters for solo piano by Robert Morris, McDermott’s Smoke of Burning Cloves for marimba, and Andriessen’s Hout and Shende’s Throw Down or Shut Up!

October 15: Abigail Nims, mezzo-soprano and Nicholas Carthy, piano. Welcome Abigail Nims to our voice facilty and to Boulder. She will be joined on the piano by Nicholas Carthy as they perform works by Schumann, Poulenc, Ives, Ginastera, and Harbison.

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

October 29: AMERICAN SONGS: Patrick Mason, baritone will present the premiere of Robert Spillman’s song cycle The Branch Will Not Break: Nine Poems of James Wright with the composer at the piano. Included in the program will be songs by Stephen Foster and Leonard Bernstein.

November 5: HORNS APLENTY: Join CU Associate Professor of Horn Michael Thornton and his colleagues from the Colorado Symphony Horn Section for an evening of music for horns. Works will include the Schumann Konzertstücke for Four Horns, Mitushin Horn Quartet, and a featured performance of the William Buck Romanza for Four Horns, recently discovered in the American Music Research Center at the University of Colorado.

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

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

2013 Fall

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

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2013-14 Season of Epics

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

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

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

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ARTIST SERIES

The Artist Series presents performances of fi ne 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.

Mission Statement

Colorado Public RadioDaily CameraMark H. Carson and Associates, P.C.Emerson Process/MicroMotionHotel BoulderadoHurdle’s JewelryFriends of the Artist SeriesJames and Associates, LLCKUNCKUVORoser Visiting Artist FundWestern States Arts Federation

Boulder WeeklyWoodsongsFlowers in BloomLiquor MartSage and Savory

Janet E. Ackermann and Scott R. Wiesner Charitable FundPaul Bechtner FoundationCarson-Pfaffl in Family FoundationA. G. Edwards & Sons, Inc.National Endowment for the ArtsNewton Family FundWestern States Arts Federation Tour WestPolk Family Charitable FundGeorge F. Reynolds EndowmentScripps Company

Gregory Silvus and Melanie Miller

AnonymousDick and Diane DunnDaryl and Kay JamesMary LamyLouise Pearson and Grant Couch

Mark and Margaret CarsonChris and Barbara ChristoffersenOlivia EdwardsKahleen and Tony FlippoSuzanne and David HooverRobert and Sandra McCalmonCorp sponsorship?????

Scott Wiesner and Janet AckermannJoan McLean BraunMichael and Carol GallucciMyra JacksonSusan and Jon LounsburyHeidi and Jerry LynchJerry and Jamie OrtenMikhy and Michael RitterAlicia and Juan RodriguezDaniel and Boyce SherTheodore and Ruth SmithLawrence and Ann Brennan Thomas

A FriendGil and Nancy BermanEllen and Dean BoalNorma Ekstrand and Tom CampbellCharles and Martha EverillJudy GouldKathryn Keller and William Wedum Gregory and Gladeane LefferdinkHarold and Joan LeinbachJeff and Janet MartinJudy and Alan MegibowSally Powell-Ashby amd John AshbyElizabeth RauchLuana and Paul RubinDouglas TaylorCenter Copy Boulder, Inc.

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David BeausangGeraldine BooneChris and Margot BrauchliOtto and Ruth BuhlerPauline and Noel ClarkPaul CohenSandra and Lawrence CohnTerry and Colleen ConantSylvia and Burt DarmourDouglas and Rita DartKenneth and Sally DellGermaine EagletonFran EvansLeslie and Merrill GlustromJo and David HillLarry and Barbara JonesIsabel LeeJulia LeeJudah and Alice LevineKay and Paul McCormickRobert and Marilyn PeltzerKim and Richard PlumridgeRandall Kenneth RutschMary and Andrew SkumanichCourtland and Carolyn SpicerZoe StiversEllen and Adam TschidaVince and Caroline Wayland

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CONCERT SPONSORS

Gil BermanRodolfo J. BetancourtEllen T. BoalJoan McLean BraunJohn S. DavisDiane DunnMichael A. GallucciLissy GarrsonLaima G. HaleyDaryl K. James, PresidentMaryan K. JarossRuth C. KahnKathryn S. KellerJerry C. M. OrtenLouise PearsonGregory L. SilvusEllen TaxmanNicholas J. Vocatura

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The Violin and the Voice: In Concert with Edward Dusinberre

Ars Nova Singers welcomes the first violinist of the Takacs Quartet in a special one-night-only collaboration at Macky Auditorium. Join us for this rare opportunity to hear one of the great

violinists of our time, performing with Ars Nova Singers in contemporary works by Knut Nystedt, Rudi Tas, and Reed Criddle, as well as Edward’s first Boulder performance

of the famous Chaconne (from Partita No. 2 in D minor) by Johann Sebastian Bach.

Saturday, February 8, 2014, 7:30pmMacky Auditorium, Boulder

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

_www.arsnovasingers.com

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

TAKÁCS SOCIETY

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

Albert and Nancy BoggessChris and Barbara ChristoffersenNorma JohnsonGary and Judith Judd

Janet and David RobertsonThe Takács QuartetMarion Thurnauer and Alexander Trifunac

Thomas and Carol CechCarol Lena KovnerThurston Manning

Anne Heinz and Ran YaronPatricia and William JohnsonRobert KehoeWalter and Eileen KintschRay and Margot LaPanseNewton Family Fund, Inc.Virginia NewtonNeil and Martha PalmerMikhy and Michael RitterLawrence and Ann Brennan Thomas

Make all gifts payable to the University of Colorado Foundation and mail to

TAKÁCS SOCIETY, CU College of Music, 301 UCB, Boulder, CO 80309-0301For credit card payments, questions or additional information,please call the

College of Music Development Offi ce at 303-735-6070.

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Stanley and Virginia BoucherWilliam and Alice BradleyChristopher and Margot BrauchliPamela and Barry GatzHarold and Joan LeinbachPaul and Nancy LevittPatricia and Robert LisenskyAnnyce MayerLise MennPatricia ThompsonAlice Dodge Wallace

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SUPPORTER

MEMBER

Lois AbbottNeil and Marcia Geissinger AshbyMaria and Jesse AweidaHarold and Ingrid BecherKevin and Diana BunnellPatricia ButlerNoel and Pauline ClarkRichard Collins and Judith ReidHelen CorbettCharlotte CorbridgeClara DeserBarbara and Carl DiehlCarolyn and Don EtterJean and Bob FischerLloyd and Mary GelamanDianne and Kenneth HacettRichard and Catharine HarrisRussell and Ann HayesBruce and Kyongguen JohnsonMireille KeyAlice and Judah LevineAlbert and Virginia LundellHeidi and Jerry LynchCaroline MaldeJohn and Nancy MalvilleJ. Richard and Marjorie McIntoshJosef and Sara MichlSandra Moriarty Sue and James PalmerFaith and Roy PtersonAntonia and Timothy Piwonka-CorleArthur and Ina RifkinJoanna and Mark RosenblumRuth Shanberge In Memory of Karen McMurrayMary and Andrew SkumanichTodd and Gretchen SlikerJan and Charles SquierShirley and Mark SteeleBerkley TagueBetty Lou ThackerMary and Peter Van EttenBetty Van ZandtChristopher and Leanne WaltherRita and Lawrence WeissJim and Nurit WolfBill Woo

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GRUSIN MUSIC HALL CHAIR PURCHASES

If you would like to name a seat in Grusin Music Hall, please call

the College of Music Development Offi ce at

303-735-6070.

Takács Scholarship in Memory of Fay ShwayderDuncan CampbellHarry CampbellMargaret and Edward CampbellNorma JohnsonJudith and Gary JuddJonathan Zeschin, Essential Advisors

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

Jane Byers Charles (Chuck) ByersFrances DahlbergMadeline Day Madeline Mahr Day Patsy Lynch WoodL. E. Gatterer Larry Gatterer Charlene GattererLloyd and Mary GelmanDoree Hickman Doree Hickman Jerry HickmanGeorge Lichter George Lichter FamilyAlice and Judah Levine In Memory of Joyce GellhornMaxine Mark In Memory of Thomas R. MarkMaxine MarkKris McCusker In Memory of Phyllis Sweetland McCuskerLise MennValorie Mooney Valorie Mooney William MooneyMutsumi Moteki In Memory of Hugh and Juanita KirtleyRebecca Roser In Memory of Pearl and Mel Pedgrift In Honor of Professor David KorevaarEdith Stevens In Memory of Richard C. McLeanTheory Department In Honor of Dean Daniel SherTravis Vardell Kenneth A. Vardell

Oasis.

B O U L D E R • F O R T C O L L I N S

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3111 Walnut Street Boulder, CO 80301

303.449.3177www.boulderpianogallery.com

BOULDERPIANOGALLERY

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!

FRIENDS OF CU OPERAThe CU Opera Program is recognized nationwide as one of the fi nest programs of its kind in the country. Its success is a refl ection 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 offi ce at 303-735-6070.

Corporate and Foundation SupportAcademy Retirement CommunityAetna Foundation, Inc.Blackhawk TrustBoulder Valley Rotary ClubColorado Academy of Lifelong LearningDenver Lyric Opera GuildFrasca Food & WineJAS VenturesPolk Family Charitable FundLouis and Harold Price FoundationThe Schramm Foundation

The following have permanentendowments established in recognition of CU Opera, its donors and its students.

Nancy and Ted Anderson Music AwardsDaryl and Lauren Boyle Music Theater ScholarshipDaryl and Lauren Boyle Voice ScholarshipDeWitt and Billie Marie Brennan Memorial Music ScholarshipBerton Coffi n Graduate Scholarship in VoiceBerton Coffi n Fellowship FundViola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. NorblomWilma and Perry Louis Cunningham Scholarship in VoiceBarbara M. Doscher ScholarshipWallace F. Fiske Performance AwardsAnn and Gordon Getty FoundationDennis Jackson Opera ScholarshipDale R. Johnson Opera ScholarshipLacy CU Opera EndowmentEd and Kay McDowell Opera EndowmentClaudia Boettcher Merthan Vocal ScholarshipTrudi Mielziner Graduate Opera ScholarshipCharlotte Orr Reid Memorial Vocal ScholarshipGregory Philip Ranno Excellence in Music ScholarshipAnthony and Dorothy Riddle Lyric Theater Performance PrizeWilliam Earl Rose, Sr. Scholarship FundGalen & Ada Belle Files Spencer FoundationBeth and Bill Suitts CU Opera EndowmentHoward B. Waltz Music ScholarshipPaula Marie and H. Rolan Zick Endowment

Allen Family FundBob GrahamLouis and Harold Price FoundationAnn Oglesby and Denny BrownGalen & Ada Belle Spencer FoundationAcademy Retirement CommunityThe Schramm Foundation

Denver Lyric Opera Guild

Eleanor CaulkinsChris and Barbara ChristoffersenBetsy and Albert HandRobert and Mikee KapelkeRotary Club of Denver FoundationAlan and Martha Stormo

Mark and Margaret CarsonJames and Sally KneserTheodore and Ruth SmithLawrence and Ann Brennan ThomasElizabeth and George Ulbrick

A FriendJason and Elizabeth BaldwinColorado Academy of Lifelong LearningJeanine Forman-HamLloyd and Mary GelmanCurtis and Mary HillHarold and Joan LeinbachRobert and Patricia MeyersDavid and Ann PhillipsDaniel and Boyce SherPeter Wall

Judith Auer and George LawrenceJames and Judith BowersAllene CashWallace and Beryl ClarkStephen DiltsJ. Michael DorseyWalter and Mary-Ruth DuncanEllen and John GilleJudy GouldJanet HanleyBarbara and John HillPam Jones and Mark BianchiSusan and Albin KolwiczMarion and Frank KreithC. Nicholas and Mollie Lee In Memory of Waye B. DanielsPatricia and Robert LisenskyHeidi and Jerry LynchBruce and Jeanette MackenzieJanet and Scott Martin In Memory of Karen McMurry

CORPORATE, FOUNDATIONS, AND ENDOWMENT SUPPORT

BENEFACTOR

SPONSOR

PATRON

SUPPORTER

CONTRIBUTOR

MEMBER

Marian MathesonByron and Catharine McCalmonDenise McCleary and Paul Von BehrenMargaret OakesRobert and Marilyn PeltzerDennis PetersonGail Promboin and Robert BurnhamAlicia and Juan RodriguezAndrew and Mary SkumanichJoyce Thurmer In Memory of Karen McMurryRichard and Caroline Van Pelt

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VOCAL ADVISORY BOARD

Lawrence H. AndersonStephen BrunsNicholas R. CarthyMartha Coffi n Evans, chairLissy GarrisonLeigh K. HolmanGlenny LeGendreKathleen M. NessAnn OglesbyShirley J. RiggsStephanie RudyJulie Ann SilverReed F. Williams

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Perfect TasteDINING TO COMPLEMENT THE PERFORMANCE

THE

dine from our seasonal menu and enjoy an incredible meal in an intimate and casual atmosphere.

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eclectic american cuisineReservations (303) 651-3330101 Pratt Street, Longmontwww.sugarbeetrestaurant.com

Dizzy’s makes hand crafted, gourmet donuts, using only the finest ingredients.

Eat a good one!

1606 Conestoga St. #2Boulder, CO 80301

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or when any other coupon, offer or discount is used. All restrictionsapply EVEN IF the party is seated at separate tables and/or receivesmore than one check and/or orders separately at the bar or another

table. Excludes Specialty Dinners and take-out. Please computegratuity on pre-discount amount. Expires November 14, 2013.

1401 Pearl Street • Suite 100 • Boulder, CO 80302

www.TheCheesecakeFactory.com

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The Cheesecake Factory features an extensive and creativemenu of more than 200 dishes made fresh from scratch,along with more than 50 low-calorie “SkinnyLicious™”

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Located in the heart of downtown, Boulder ChopHouse & Tavern features a classic steak menu with ever-changing

local and organic ingredients. Join us on our patio, in our bar, for happy hour, or any night for dinner.

921 WALNUT STREET | 303.443.1188 | CHOPHOUSE.COM

Bart Young Photography

Located in the heart of downtown, Boulder ChopHouse & Tavern features a classic steak menu with ever-changing

local and organic ingredients. Join us on our patio, in our bar, for happy hour, or any night for dinner.

Bring in your program or ticket stub and receive 20% off your bill

1132-1 W. Dillon Rd.Louisville, CO 80027

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303.492.8008 www.cupresents.org

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

G

La Bohème (sung in Italian)

by Giacomo Puccini

Directed by guest artist Paolo Panizza

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

October 25, 7:30 p.m.October 26, 7:30 p.m.October 27, 2 p.m.Macky Auditorium

OPERA SCENESDecember 9, 7:30 p.m.Music TheatreFree and open to the public

Hansel and Gretel(sung in English)

by Engelbert Humperdinck

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

March 14, 7:30 p.m.March 15, 7:30 p.m.March 16, 2 p.m.Macky Auditorium

Side by Side by Sondheim(sung in English)

by Stephen Sondheim

More than a revue of the incomparable Broadway composer’s work, Side by Side by Sondheim features his best-known tunes alongside narration exploring the context of each piece.

April 24, 7:30 p.m.April 25, 7:30 p.m.April 26, 7:30 p.m.April 27, 2 p.m.Music Theatre

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POLI-SCI DURING THE WEEK.SCI-FI ON THE WEEKEND.Explore a range of credit and non-credit courses that will challenge whatever you believe.

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Global performance. World-class entertainment.Global performance. World-class entertainment.You have to be here.2 0 1 3 – 2 0 1 4 S e a s o n

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10/2 Armitage Gone! Dance

11/8 Van Cliburn Gold Medalist

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12/15 Turtle Island & Tierney Sutton - A Solstice Celebration

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2/13 Venice Baroque Orchestra

2/24 TAO - Phoenix Rising

3/19 Fahrenheit 451 by Aquila Theatre

4/5 Eddie Palmieri Salsa Orchestra

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