CU Presents Magazine Artist Series Winter 2015, Nov. 9, 2015

Irish Chamber Orchestra, Nov. 6

Soweto Gospel Choir, Dec. 11

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Irish Chamber Orchestra...............6Calendar ........................................8Holliday Festival...........................12Soweto Gospel Choir..................14Faculty Tuesdays ........................24Artist Series donors .....................26Takács Quartet donors ...............30Eklund Opera donors ..................32Personnel lists .............................34

This program is published by The Publishing House,

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Angie Flachman Johnson, PublisherTod Cavey, Director of Sales

Stacey Krull, Production ManagerMark Fessler, Press ManagerWilbur E. Flachman, President

For advertising, call 303-428-9529 or email [email protected]

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Contents

Advertising Info

Irish Chamber Orchestra...............6Calendar ........................................8Holliday Festival...........................12Soweto Gospel Choir..................14Faculty Tuesdays ........................24Artist Series donors .....................26Takács Quartet donors ...............30Eklund Opera donors ..................32Personnel lists .............................34

This program is published by The Publishing House,

Wesminster, CO.

Angie Flachman Johnson, PublisherTod Cavey, Director of Sales

Stacey Krull, Production ManagerMark Fessler, Press ManagerWilbur E. Flachman, President

For advertising, call 303-428-9529 or email [email protected]

ColoradoArtsPubs.com

CU PresentsSabine Kortals, Editor

Mel Plett, Design and Layout

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Irish Chamber OrchestraOn Nov. 6, the “razor-sharp, fully-seasoned” Irish Chamber Orchestra (Chicago Tribune) returns to Boulder by popular demand, conducted by Gábor Takács-Nagy and featuring internationally renowned cellist István Várdai.

“I’m very happy that, after 23 years, I’m returning to Boulder where I lived for six years between 1986 and 1992,” says Hungarian-born violinist and conductor Takács-Nagy, a founding member in 1975 of the Takács Quartet—in-residence at the CU Boulder College of Music—and now Principal Artistic Partner of the Irish Chamber Orchestra since January 2013. (Of the original Takács Quartet, violinist Károly Schranz and cellist András Fejér remain.)

“I can hardly wait to be on stage in Boulder, and to meet with colleagues and friends,” continues Takács-Nagy. “I’m also very proud to perform with the ICO’s world-class musicians and the gifted Hungarian cellist, Várdai.”

Várdai, 30, has received prizes and awards at numerous international music competitions. He won the David Popper International Music Competition in Budapest three times, and was awarded top prizes at the Grand Prix Emanuel Feuerman in Berlin and the International Johannes Brahms Competition in Pörtschach, Austria. “His playing was commendable for its fluidity and virtuosity, distinguished by both a fleet-fingered lightness and a rich timbre,” wrote culture writer Vivien Schweitzer in The New York Times of Várdai's musicianship.

According to Takács-Nagy, “We’ll be performing a very exciting, energetic and colorful program in Boulder,” including Bach’s Cello Concerto in A Major, Wq. 172, and Haydn’s Cello Concerto in C Major—as well as Haydn’s Symphony No. 49 in F minor (“La passione”) and Bartók’s Divertimento for String Orchestra.

“Hungarians are not only proud of Bartók, but also Haydn,” says Takács-Nagy. “They consider Haydn to be a little bit Hungarian, too! For much of his career, he was musician and composer for the Hungarian noble family, the Esterházys.”

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

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

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

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

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

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

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

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

Sunday, Nov. 8, 2015, 4:00 p.m.Monday, Nov. 9, 2015, 7:30 p.m.Sunday, Jan. 10, 2016, 4:00 p.m.Monday, Jan. 11, 2016, 7:30 p.m.Monday, Feb. 29, 2016, 7:30 p.m.Sunday, April 24, 2016, 4:00 p.m.Monday, April 25, 2016, 7:30 p.m.


Holiday Festival 2015Dec. 4-6, 2015A lively program of seasonal music and festive holiday decorations in Macky Auditorium inspire sold-out audiences and make the Holiday Festival a beloved annual tradition. Choirs, orchestra, ensembles and faculty soloists from the CU-Boulder College of Music invite you to share the joy and warmth of the season with your family and friends.

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

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

Fiddler on the Roof, Nov. 6-15, 2015Music by Jerry Bock, Book by Joseph Stein, Lyrics by Sheldon Harnick. Directed and choreographed by Gary John La Rosa, Roe Green Visiting Theatre ArtistDrawing on the richly humorous and humane tales of Sholem Aleichem, this musical tells the story of a poor, Jewish dairyman, his wife and their five daughters in a Russian village at the turn of the century.

The Current, April 15-17, 2016“The Current” showcases the varied works of CU dance faculty and guest artists, including Faye Driscoll, a Bessie Award-winning choreographer and director who investigates new forms of theatrical experience. Driscoll is the recipient of a 2013 Guggenheim Fellowship and a 2013 Creative Capital Performing Arts Award.

June 3-Aug. 7, 2016The Colorado Shakespeare Festival is a professional theatre company in association with the University of Colorado Boulder. Since 1958 the festival has celebrated and explored Shakespeare and his continuing influence and vitality through productions of superior artistic quality, education and community engagement.

Return to the Forbidden Planet, March 4-13, 2016by Bob Carlton. Directed by Cecilia PangIn a galaxy far away, a shadowy planet beckons our courageous team of travelers. “Shake, Rattle, and Roll" as Captain Tempest guides us through a cavalcade of golden era rock ’n roll hits.

2016 Lineup:Comedy of ErrorsEquivocationTroilus and CressidaCymbelineHenry VI, Part 2

Colorado Shakespere Festival

Plus much more! http://www.colorado.edu/theatredance/events

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Holiday Festival“The CU-Boulder Holiday Festival is a beloved annual tradition,” says Gregory Gentry, Director of Choral Studies. “Once again, we’ll present the outstanding vocal and instrumental students and faculty of the College of Music.”

As artistic director of the event featuring seasonal music and festive holiday decorations at Macky Auditorium, Gentry says this year’s celebration will include familiar music, including holiday favorites by John Williams (“Home Alone”) and Christophe Beck (“Frozen”).

“The audience will be invited to join the performers in singing carols, as well as the ‘Hallelujah Chorus’ from Handel’s ‘Messiah,’” he continues. “Everyone will delight in the music provided by the Holiday Festival Brass & Percussion, the CU Symphony Orchestra and combined choirs, the Holiday Festival Jazz Combo and the CU Women’s Chorus.

“And for the children in our audience, we’ll welcome a very special guest.”

Inspiring sold-out audiences year after year, this lively program of holiday favorites is sure to spark the joy and warmth of the season. Join us!

The Holiday Festival runs Dec. 4-6. Tickets are $15 and up. Holiday Festival revenues benefit the CU Music Scholarship Fund; no discounts are available for these performances.



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The Soweto Gospel Choir is generously co-sponsored by:

On Dec. 11, South Africa’s 24-voice Soweto Gospel Choir—“Nothing less than an international treasure” (JazzTimes)—will light up Macky Auditorium with a colorful, spirited performance of classic Christmas carols, moving African gospel and dance.

The tradition of Christmas was introduced to South Africa by missionaries around 1650, and remains an important holiday celebration among South Africans today. Indeed, Christianity is now entrenched in South African life with approximately 80 percent of the population following some variant of the religion—it’s a key aspect of family and community life, as is music, singing and dancing.

Since 2002, the Soweto Gospel Choir has demonstrated how all aspects of life can be expressed through song and dance. That year, their first album—“Voices of Heaven”—reached the No. 1 spot on Billboard’s World Music Chart. Numerous other international awards and honors quickly followed—including performances for birthday celebrations of their patron, Archbishop Desmond Tutu. They’ve also appeared on the “Today Show,” “The Tonight Show with Jay Leno” and “Late

Night with Conan O’Brien”—and the gospel group’s second album, “Blessed,” garnered their first Grammy Award in 2007.

Beyond their distinctive music making, the Soweto Gospel Choir founded its own AIDS orphans foundation, Nkosi’s Haven Vukani (which means “Outreach”), to assist organizations that receive little or no funding. The choir also performs for a variety of charitable causes.

In a mix of traditional and contemporary music and dance, the Soweto Gospel Choir will present in Boulder astunning affirmation of how South Africans celebrate, grieve, worship and tell stories. Song titles include “Hayo mathata,” “Ziyamaz’ umelusi,” “Calvary,” “Many Rivers” “Meadowlands” and “I Feel Good,” among several more songs and chants.

The program concludes with a handful of favorite Christmas carols—from “Oh! Holy Night” and “The LittleDrummer Boy” to “We Wish You a Merry Christmas”—in the group’s unique rendering of music and rhythms.

Join us for a pre-concert lecture with Assistant Professorof Ethnomusicology Austin Okigbo. The lecture begins at 6:45 p.m. in Room 102 at Macky Auditorium; seating is limited, so please arrive early.

Soweto Gospel Choir



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

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

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

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

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

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

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

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

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

MICHAEL BUTTERMAN, MUSIC DIRECTOR

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Portraits In Season Sat., Nov. 14—7:30 PM at Mackywith Boulder ChoraleCharles Denler, pianoWorks by Brahms & Denlerwith choreographed images by nature photographer John Fielder

The Nutcracker BalletFri.-Sun., Nov. 27-29 at MackyBoulder’s favorite holiday tradition, with all-new scenery!

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

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

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

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

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

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Irish Chamber OrchestraGábor Tákacs-Nagy, conductor

István Várdai, cello

Tonight’s performance is sponsored by Boulder CPA Group.

Tonights performance will run aproximately 1 hour and 55 minutes including a 15 minute intermission.

During intermission, tag us in your post or selfie and you could win a $100 CU Presents gift certificate! (facebook.com/cupresents) (Twitter: @cupresents) (Instagram: @cupresents)

Violin 1Katherine Hunka (Concert Master)Emily NennigerDiane DalyOonagh KeoghCliodhna Ryan

Violin 2Andre SwanepoelKenneth Rice Anna CashellLouis RodenSiun Milne

ViolaJoachim RoewerMark Coates SmithRobin PanterDavid Kenny

CelloNatasha Szervanszky-cavayeRichard AngellAoife Nic Athlaoich

BassMalachy Robinson

Oboe Daniel BatesMatthew Draper

HornJames PalmerStephen Nicholls

BassoonIde Ni Chonaill

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Symphony No. 49 in F minor (“La passione”) Franz Joseph Haydn I. Adagio (1732-1809) II. Allegro di molto III. Menuet & Trio IV. Finale: Presto

Cello Concerto in A Major, Wq. 172 C.P.E. Bach I. Allegro (1714-88) II. Largo III. Allegro Assai

Intermission

Cello Concerto in C Major Franz Joseph Haydn I. Moderato (1732-1809) II. Adagio III. Allegro molto

Divertimento for String Orchestra Béla Bartók I. Allegro non troppo (1881-1945) II. Molto adagio III. Allegro assai

Program

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Symphony No. 49 in F minor (“La Passione”) Franz Joseph HaydnAt some point in the second half of the 18th century, music became something more than mere background entertainment for the well-to-do. No one can say just when it grew into something of higher and lasting value – but a survey of Haydn’s 104 Symphonies reveals a steady evolution, not only of the symphony itself, but also of music’s newly-discovered power to be meaningful. If you’re looking for a pivot point, consider his Symphony No. 49, written in 1768, while Haydn was enjoying the comforts of life as resident composer in Prince Nikolaus Esterházy’s palace. This work became the last one constructed along the lines of the antiquated Baroque “church sonata” blueprint: slow-fast-slow-fast. The remaining 50+ symphonies would open with quick, attention-grabbing themes (occasionally preceded by brief, slow intros as a hold-over from the old days). This work’s opening Adagio, then, is a stern nod to the past – but this work also seems to look forward in its inescapable darkness, a mood that would be embraced by composers throughout the next century. Consider that, apart from a pleasant little Trio in the middle of the Minuet, the music remains rooted in the seriousness of F minor. Is this

why No. 49 was later nicknamed by a publisher “La Passione”? No. OK, but was it part of the wildly popular Sturm und Drang (“Storm and Stress”) movement? Not really. The Symphony’s nickname refers not to the inherent drama of the score, nor to the emotions generated by flights of romantic passion. It’s more likely connected to the Christian Passion – the story of Christ’s final days. Similarly, it’s premature to link the swirling energy of the two fast movements with the fad that exploded across Europe with the popularity of a play by Friedrich Klinger titled Storm and Stress, and Goethe’s novel, The Sorrows of Young Werther. Those works displayed an unbridled emotional outpouring that unleashed a flurry of similar literary, musical, theatrical, poetic and artistic endeavors. But Haydn’s No. 49 should not be included among them, since it was finished six years before Goethe and eight years before Klinger. Still, it’s no stretch to link the symphony’s dramatics with the Sturm und Drang period. All those invigorating bursts of heart-on-sleeve drama would open the door to the heroic music of Beethoven – which in turn opened the door to liberating emotion for composers in the decades to come. If Haydn, then, is “The Father of the Symphony,” might he also be looked upon as the progenitor of 19th-century music?

Program Notes by Marc Shulgold

(continued on back)

Cello Concerto in A Major, Wq. 172 Carl Philipp Emanuel BachWe’ve viewed Haydn’s 49th Symphony as a transitional work from the Baroque era into the Classical and beyond. Turning to the music of C.P.E. Bach, it’s no exaggeration to similarly consider his entire output as a significant bridge between the old and the new. The second of Johann Sebastian’s sons to survive childhood, C.P.E. had no hesitancy in pursuing his father’s occupation, in 1740 earning a spot in the musically rich world of Frederick II of Prussia. The monarch may have been designated “The Great,” but he was less so in the way he treated the young Bach. Though his employment lasted nearly 30 years, C.P.E. frustratingly remained a marginal, poorly paid player in Frederick’s assemblage of 40 or so instrumentalists. His salary as “first harpsichordist” was in fact less than that of the “second harpsichordist.” Worse still, his compositions were not held in the same high regard in the court as those of Johann Quantz, who specialized in music for the flute (Frederick’s instrument). Nonetheless, C.P.E. continued to compose, both in service to the Prussian monarch and, following his departure in 1768, as civic music

director in Hamburg (succeeding his late godfather, Georg Philipp Telemann). Bach wrote more than 50 concertos, including three in close proximity for cello, though each one also offers the solo role to harpsichord or flute. No one knows which instrument was given first dibs, though it’s a safe bet that the keyboard version was handled by C.P.E. and the flute version given to Frederick. In any case, the solo writing in the A-Major Concerto, penned in 1753, seems most comfortable on the cello. Who was its recipient? Perhaps one of the court cellists – no one knows. A concerto for that instrument was a rarity for the time, a fact noted by Quantz, who observed that any brave cello soloist “must be provided by nature with fingers that are long and have strong tendons.” Here, the music follows the style of Baroque concertos in its fast-slow-fast structure and lively virtuosity. C.P.E. believed music should “touch the heart above all,” a view that would be explored much later in the Romantic era, and one that is expressed beautifully in this concerto’s Largo (marked mesto – “sad” – accompanied by muted strings). But then, one is hard-pressed to find any music more catchy, playful and jolly than the final Allegro.

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Cello Concerto in C Major Franz Joseph HaydnLet’s give a round of applause to the Czech musicologist Oldřich Pulkert, who happened upon the individual parts of Haydn’s previously lost C-Major Cello Concerto, buried within the National Museum of Prague, where he was working as archivist. The discovery was made in 1961 – some 200 years after this brilliant work was composed. Though the pages were not written in the composer’s hand, Pulkert matched the music with a musical quote that Haydn had included in his catalog, thus confirming its authenticity. Cellists around the world quickly added the work to their repertoire, and it has remained a concert-hall staple and audience favorite ever since. Haydn was no cellist, preferring the keyboard

Divertimento for String Orchestra Béla BartókIn the summer of 1939, the world was teetering on the brink of disaster. And yet, a mere month before Germany’s Sept. 1 invasion of Poland signaled the start of World War II, Béla Bartók found himself surrounded by beauty and peace. That August, responding to an invitation the previous year from his wealthy friend, conductor Paul Sacher, the composer settled in Sacher’s spacious chalet, tucked away in the Swiss Alps, in order to create a piece for the Basle Chamber Orchestra. Three years earlier, Bartók had written his Music for Strings, Percussion and Celesta for Sacher’s group, so he greeted this gracious offer enthusiastically. Here was a welcome diversion from the growing tensions in Europe – and so it seems appropriate that the new work would be titled Divertimento. Inspired by the luxury of his surroundings, the composer happily wrote to his son, “Somehow I feel like a musician of olden times – the invited guest of a patron of the arts.” When Sacher arrived to check on Bartók, he reported finding him “completely without misgivings for the future, absorbed in his work.” Indeed, the Divertimento emerged with little effort: it was completed in a mere

(though he was hardly a virtuoso). It’s likely that this work, the first of two, was written in the early 1760s, at the start of the composer’s 30-year residency at the Esterházy Palace in Hungary’s northwest corner. No doubt it was intended for the palace orchestra’s principal cellist, Joseph Franz Weigl, who, we’re guessing, served as guide in its composition and served as the concerto’s first soloist. Weigl also may have also written out the parts discovered by Pulkert. Here is music that is stately in its opening movement, touching and almost operatic in its serene slow movement and bubbling with Haydn’s irresistible wit and charm the finale. Sad to think that it had been lost to so many generations of musicians and music lovers.

15 days on August 17, and would be premiered by Sacher and company on June 11 the following year. But a lot happened in the interim – by early 1940, all of Europe was at war and the Bartóks were forced to escape from their beloved Hungary and emigrate to America. This three-movement work, along with the Sixth String Quartet (also commissioned by Sacher), would be Bartók’s last music written in Europe. In a letter to his wife Ditta, he explained his motivation for writing a piece that takes its model from the concerto grosso of the late Baroque: “Divertimento means, roughly, amusing, entertaining music. As far as I am concerned, it does entertain me. … Sacher asked for a simple piece; simplicity brings with it lightness. And indeed it became light.” This is one of Bartók’s most accessible pieces, brimming with jaunty Hungarian-flavored folk dance tunes and gypsy waltzes, and even an amusing, if ironic, dash of Viennese polka near the end. True to its Baroque model, the work pits a solo ensemble of first-desk players against the rest of the orchestra. Not that it’s all fun and games – the central Adagio, played by muted strings, is filled with a sense of lonely melancholy, punctuated by discordant cries of despair, as if the composer was unconsciously gazing into Europe’s dark future.

(program notes continued)

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The Irish Chamber Orchestra is Ireland’s finest chamber orchestra, renowned for its virtuosity, its intimacy, program diversity and outstanding musicianship. The ICO continues to work with Gábor Takács-Nagy (Principal Artistic Partner) and Jörg Widmann (Principal Guest Conductor/Artistic Partner), opening new doors to music. Under the leadership of Katherine Hunka, the orchestra tours nationally and internationally. Gábor Takács-Nagy and the ICO commence the 2015/16 season focusing on Schubert, whilst Jörg Widmann and the orchestra begin a new journey with Weber, Beethoven and Schumann.

As always, the ICO introduces some of the finest international guest soloists in its 2015/16 season, including one of the world’s up-and-coming pianists, Igor Levit. We also expand our long tradition of cross-artform collaborations: in September Handel’s comic opera, “Agrippina” (the first co-production between the ICO, Irish Youth Opera and NI Opera) will play six performances in four cities. UK maestro Jonathan Cohen makes a welcome return as musical director of this production. Celebrated Irish soprano Ailish Tynan makes two appearances in the season, as does Irish pianist Finghin Collins. The ICO dedicates a concert to the 1916 Easter Rising commemorations with an emphasis on remembrance and reconciliation. A pot-pourri of music, songs and poetry features Irish actor, Des Keogh.

Working with some of the world’s finest musicians both international and national including Claron McFadden, Gilles Vonsattel, Gloria Rehm, Jochen Rieder, István Várdai, Sergeij Nakariakov, Tabea Zimmermann, Pekka Kuusisto, James Galway, Jonathan Cohen, Finghin Collins and Michael McHale, the ICO continues to blaze a trail.

The ICO excels in diverse repertoire ranging from baroque to modern day masterpieces and new commissions – enjoying fruitful relationships with an array of Irish composers including Garrett Sholdice, John Kinsella, Linda Buckley, Elaine Agnew, Míchael Ó Súilleabháin, Frank Corcoran and Sam Perkin.

The orchestra has successfully toured across Europe, Australia, South Korea, China and the United States. Since his first appearance with the orchestra (Berlin 2007), Jörg Widmann has injected unprecedented energy which has seen the orchestra appear at De Singel Antwerp (2011), the Konzerthaus Berlin, the Rheingau and Lichfield Festivals (2013). The ICO undertook a 13-city U.S. tour with flautist Sir James Galway (2013). In 2014, Widmann and the ICO performed at the Storioni Festival Eindhoven, the Heidelberg Frühling Festival, the Mozartfest Würzburg, in addition to concerts in Bregenz, Austria and Wiesbaden, Germany with Ailish Tynan. This November the orchestra embarks on a 4-City US tour with Principal Artistic Partner, Gábor Takács-Nagy and celebrated Hungarian cellist, István Várdai.

2016 marks a significant year for the orchestra as it commences its first international (three-year) residency in Heidelberg, resulting in several concerts at the distinguished Heidelberger Frühling with Igor Levit. In addition, the ICO will perform in the Philharmonie, Cologne as well as returning to the Mozartfest Wῡrzburg with acclaimed violist Tabea Zimmermann. The orchestra makes its debut at the Tonhalle Zurich (2016) and the Konzerthaus Vienna (2017) in addition to a return London performance at the Wigmore Hall in the 2017/18 season.

Adding to the orchestra’s already numerous CD recordings, the Orfeo label will soon release a series of Mendelssohn’s Symphonies combined with works by Jörg Widmann, as directed by him.

Outside the concert hall, the ICO stimulates minds and hearts with vitality unmatched by other ensembles. Its “Sing Out with Strings” programme provides free tuition in singing, song writing, violin and cello tuition to 300 children throughout Limerick city, developing not only musical skills, but also key life skills using music as a tool for tangible social change.

The Irish Chamber Orchestra is resident at the Irish World Academy of Music and Dance at the University of Limerick and is funded by the Arts Council of Ireland/An Chomhairle Ealaíon.

The Irish Chamber Orchestra

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A native of Budapest, Gábor Takács-Nagy studied violin from eight years. As a student of the Franz Liszt Academy, he won First Prize in 1979 in the Jenö Hubay Violin Competition and later pursued studies with Nathan Milstein. His chamber music teachers at that time were Ferenc Rados, András Mihaly, Zoltán Székely, Sándor Végh and György Kurtag. From 1975 to 1992, he was founding member and leader of the acclaimed Takács Quartet performing with legendary artists; Yehudi Menuhin, Sir Georg Solti, Isaac Stern, Mstislav Rostropovitch, and was regularly invited by Sviatoslav Richter to his festivals. The Takács Quartet made many recordings for Decca and Hungaroton. In 1996, he founded the Takács Piano Trio and made world premier recordings of works of Hungarian composers Franz Liszt, Lászlo Lajtha and Sándor Veress.

In 1998, he established the Mikrokosmos String Quartet with compatriots Zoltan Tuska, Sandor Papp and Miklos Perényi, recording in 2008 the complete cycle of Bartók’s String Quartets for which they were awarded the Excellencia prize by Pizzicato Magazine. In 1982, he was awarded the Liszt Prize. Takács-Nagy is considered one of today’s most authentic exponents of Hungarian music, and in particular, that of Béla Bartók.

In 2002, following Hungarian tradition, Takács-Nagy turned his attention to conducting, creating his own

string ensemble, the Camerata Bellerive (2005) and in 2006 was appointed Music Director of the Weinberger Kammerorchester. In August 2007, he was named Music Director of the Verbier Festival Chamber Orchestra, an integral part of the Verbier Festival and regularly collaborates with the pianist Martha Argerich. A DVD of their performances of Beethoven’s second piano concerto and Shostakovich’s concerto for piano, trumpet and strings was released in June 2011.

From 2010 until 2012, Takács-Nagy was Music Director of the MAV Symphony Orchestra Budapest recording a world premiere the epic Bards of Wales oratorio by Karl Jenkins. In September 2011, he was appointed Music Director of Manchester Camerata, one of the UK’s leading chamber orchestras, and in September 2012 became Principal Guest Conductor of the Budapest Festival Orchestra. In January 2013, he was appointed Principal Artistic Partner of the Irish Chamber Orchestra.

Takács-Nagy is a dedicated and highly sought-after teacher. He is Professor of String Quartet at the Haute Ecole de Musique in Geneva and International Chair of Chamber Music at the Royal Northern College of Music in Manchester. In June 2012, he was awarded honorary membership of the Royal Academy of Music in London.

Artist Bios

Gábor Takács-NagyPrincipal Artistic Partner /Conductor

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István Várdai, the 29-year-old gifted Hungarian cellist has been awarded several prestigious international prizes. Most recently he won the ARD Cello Competition in Munich (2014). This was preceded by the prestigious Prix Montblanc (2013) awarded to the world’s most promising young musician. In 2008 he won the 63th Geneva International Music Competition in addition to the Audience Prize, Pierre Fournier Prize and Coup de Coeur Breguet Prize. He took 3rd prize at the Tchaikovsky Music Competition in Moscow (2007) and in 2006 was winner of the Feuermann Cello Competition at Kronberg Academy. He also was awarded 1st Prize at the 13th International Brahms Competition in Austria and won the David Popper International Music Competition no less than three times (2000, 2003, 2004).

Since his debut concert in 1997 in The Hague, Várdai has performed in New York, London, Paris, Prague, Vienna, Frankfurt, Munich, Berlin, Geneva, Dublin, Moscow, St. Petersburg, Florence, Tokyo and Beijing with great success. He has performed with world renowned musicians and orchestras including Ádám Fischer, Zoltán Kocsis, Howard Griffiths, Simon Gaudenz, Gilbert Varga, St. Petersburg Symphony Orchestra, Mariinsky Theatre Orchestra, Geneva Chamber Orchestra, Franz Liszt Chamber Orchestra, Suisse Romande Orchestra, Bavarian Radio Symphony Orchestra as well as the ICO. He has guested at the Santander Festival, the Gergiev Festival in St. Petersburg, the Pablo Casals Festival (Spain), Festival of Radio France (Montpellier),

Bellerive Festival (Switzerland), Schleswig-Holstein Music Festival, Schwetzingen Festival, West Cork Chamber Music Festival, Verbier Festival and the Budapest Spring Festival. In 2010, he made his debut, among others, in Carnegie Hall and the Vienna Konzerthaus and has performed with Gidon Kremer, András Schiff and Yuri Bashmet in the frame of “Chamber Music Connects the World” at Kronberg Academy.

Between 2010 and 2013, Várdai studied at the Kronberg Academy with Professor Frans Helmerson and has been on the Academy staff ever since. He attended master classes with Natalia Gutman, Natalia Shakhovskaya, András Schiff and János Starker. In 2009, he was awarded the Junior Prima Prize as best young artist of the year. Várdai initially studied at the Franz Liszt Academy in Budapest with Professor László Mező (2004) and continued at the Music Academy of Vienna with Professor Reinhard Latzko (2005).

Várdai first CD featured works by Janáček and Prokofiev. The Elgar cello concerto was released in 2009 by Ysaye Records. In 2010, he recorded Baptist Vanhal’s cello concerto. A 2013 release on the Hännsler label featured works by Mendelssohn, Martinu, Paganini, Beethoven and Popper. Last year, he released both versions of Tchaikovsky’s Rococo Variations (Brilliant Classics). Várdai plays a cello by J.Cuypers (1763) and a modern instrument by Carsten Hoffman.

István Várdai Cellist

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Wednesday, Nov. 11Symphonic Band 7:30 p.m., Macky Auditorium

Jazz Combos 7:30 p.m., Old Main Theater

Thursday, Nov. 12Wind Symphony 7:30 p.m., Macky Auditorium

Japanese and Gamelan Ensembles 7:30 p.m., Grusin Music Hall

Saturday, Nov. 14Early Music Ensemble: Italian Journey 4:30 p.m., Chamber Hall

Jazz Ensembles I & IIwith special guest Tia Fuller 7:30 p.m., Grusin Music Hall

Sunday, Nov. 15University Choir & University Singers 7:30 p.m., Grusin Music Hall

Monday, Nov. 16Latin Jazz and Bateria Ensembles 7:30 p.m., Grusin Music Hall

Thursday, Nov. 19CU Symphony Orchestra 7:30 p.m., Macky Auditorium

Wednesday, Dec. 2Pendulum New Music 7:30 p.m., Grusin Music Hall

Opera Scenes: Eklund Opera Program 7:30 p.m., Music Theatre

Monday, Dec. 7Campus Band and Campus Orchestra 7:30 p.m., Grusin Music Hall

Upcoming ensemble performances:

For more information, visit: colorado.edu/music

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Ars Nova SingersOur 30th Anniversary Season

tickets/info:www.arsnovasingers.org

100 Years of a MasterpieceRachmaninoff, Vespers – October 9 & 10

A Colorado Holiday TraditionHappiness and Cheer – December 12, 13, 17, 18

Music for Many VoicesRenaissance Retrospective – February 19, 20

Modern MasterpiecesThe New Art: Shared Visions – April 29, 30

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Lessons and Carolsfor the Christmas Season

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

Performances are free and open to the public.

Spring Faculty Tuesday Preview

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

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

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

Jan. 12 Mutsumi Moteki and Tamara Goldstein “My Song Book: songs without singers”Jan. 19 Erika Eckert, Margaret McDonald, Abby Nims (poetry theme)Jan. 26 David KorevaarFeb. 2 Doug WalterFeb. 9 CU Symphony OrchestraFeb. 16 Voice Faculty (Mutsumi Moteki coordinating)Feb. 23 Andrew CooperstockMarch 8 Mike Barnett works performed by David Korevaar and Chas WetherbeeMarch 15 Alexandra Nguyen and friendsMarch 29 Abby Nims, Alexandra Nguyen, Bob Spillman



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February 26-March 6, 2016

Artist SeriesThe Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide worldclass performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.

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

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

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

Takács SocietyCU College of Music, 301 UCB, Boulder, CO 80309-0301

For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.

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

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

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

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ContributorVirginia and Stanley BoucherWilliam and Alice BradleyKevin and Diana BunnellMarda BuchholzBob and Lennie DamrauerCarolyn and Don EtterSteve Goldhaber and Mariana VertensteinHarold and Joan LeinbachPaul and Nancy LevittPatricia and Robert LisenskyAnthony and Randi StrohBerkley TaguePatricia Thompson

MemberAnonymousLois AbbottChristine Arden and David NewmanNeil Ashby and Marcia GeissingerMaria and Jesse AweidaChristopher and Margot BrauchliShirley CarnahanPenny CheneryNoel A. and Pauline A. ClarkHelen Dorsey CorbettCharlotte CorbridgeRichard and JoAnn CrandallBarbara and Carl DiehlCarolyn and Don EtterBob and Jean FischerLloyd and Mary GelmanKen and Dianne HackettRichard and Catharine Harris

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



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

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

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

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

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

SupporterAnonymousMark and Margaret CarsonCarson-Pfafflin Family FoundationWalter DuncanMarty Coffin Evans and Robert TremblyMikhy and Mike RitterTheodore and Ruth SmithLawrence and Ann ThomasKen and Ruth Wright in memory of Mayme LacyWright Family Foundation

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

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

MemberShannon Bee in memory of Allene CashSara-Jane and Bill CohenCatherine Compton in honor of Tom RobbinsEleanor DePuyDonald and Beverly EklundJoseph and Beverly ElinoffEllen and John GilleJanet HanleyDavid and Janet HummerFrank and Marion KreithMelinda Leach and David BallKenneth L. Levinson and Shauna Titus LevinsonPatricia and Robert LisenskyHeidi and Jerry LynchBruce MackenzieMarian MathesonByron and Cathy McCalmonCorinne McKay and Daniel UristRichard and Donna MeckleyKathleen and John NessRobert and Marilyn PeltzerKim and Rich PlumridgeGail Promboin and Robert BurnhamByron and Sylvia RileyJuan and Alicia RodriguezRuth SchoeningRuth ShanbergeCarol and Randall ShinnCarol and Art SmootHelen StoneWalter TaylorJames and Nurit Wolf



Every Day is an Adventure in Learning

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Call for a tour: 303.494.7508 www.bixbyschool.org

Extended Day Option:7:15 am - 5:45 pm

BOULDER BALLET and BOULDER PHILHARMONIC ORCHESTRA

See it again ... for the first time!

New Sets, New Dancers, New Production

November 27–29 ● Macky AuditoriumBox office: 303-449-1343 ext. 2 ● www.BoulderNutcracker.org

Get your tickets

now!

3 0 3 - 4 4 3 - 3 6 8 3

1421 P E A R Lb o u l d e r a r t s a n d c r a f t s . c o m

G l a s s P a p e r w e i g h t • T o m P h i l a b a u m

Personnel

Patron Info CU Presents Box Officecupresents.org303-492-8008

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

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

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

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

Program Editor: Sabine KortalsProgram Design/Layout: Mel Plett

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

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

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

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

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

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

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

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


VISIT US: 2525 Arapahoe Ave. Boulder, CO 80302 GIVE US A RING: (303) 443-1822 OR CHECK US OUT ONLINE: WWW.MCGUCKIN.COM

FREE PARKING: Available on all four sides in the Village at Arapahoe & Canyon

PUBLIC TRANSIT: RTD stops on

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STORE HOURS:Mon – Fri: 7:30 am – 8:00 pmSaturday: 8:00 am – 7:00 pmSunday: 9:00 am – 6:00 pm

CU Presents Magazine Artist Series Winter 2015, Nov. 9, 2015

Documents

Transcript of CU Presents Magazine Artist Series Winter 2015, Nov. 9, 2015