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FROM THE EXECUTIVE DIRECTOR

Welcome to Newman Center Presents, and thank you for coming! This season started early, given our collaboration with the Biennial of the Americas in presenting the Colorado premiere of Brazil’s Companhia Urbana de Dança in July. The rest of the season features our signature eclectic mix of musical and dance artists from around the world.

Contemporary dance finds a welcome home at the Newman Center. This season we host the legendary Twyla Tharp’s 50th Anniversary Tour with all new works. Together with the Mizel Arts & Culture Center at the JCC we present Vertigo Dance from Israel. The appearance of Kyle Abraham’s Abraham.In.Motion coincides with the annual conference of the International Association of Blacks in Dance, being hosted in Denver by Cleo Parker Robinson Dance. Finally, we have commissioned a new work from another American dance legend, Paul Taylor, and his company will present the world premiere here in February.

The Newman Center has been a regular presenter of new classical music and this season includes some of the best young composers and musicians working today. The string quartet Brooklyn Rider performs its “Almanac” project of works written for them by composers as diverse as Bill Frisell, Ethan Iverson, and Vijay Iyer. S -o Percussion, with us for the third time, plays Bryce Dessner’s “Music for Wood and Strings” on instruments invented for the piece, and then joins the multitalented Shara Worden, vocalist of the indie rock band My Brightest Diamond, for a series of songs written by her. Gabriel Kahane, back for the third time as well, pairs up with pianist Timo Andres for an intimate exploration of songs, old and new, in the Hamilton Family Recital Hall.

Other highlights of the season include the master of the American Songbook, Michael Feinstein, also in collaboration with the Mizel Arts and Culture Center, the beloved a cappella ensemble Anonymous 4 on their farewell tour in a program memorializing 150 years since the end of the Civil War, and four award-winning young stars from the Metropolitan Opera singing arias and ensembles from opera. We’ll celebrate the holidays with swing as the Boston Brass and the Brass All-Stars Big Band combine jazz and seasonal favorites.

The Colorado Symphony brings its new Associate and Assistant conductors to the Newman Center, once for an “inside the score” performance of Brahms’s 4th Symphony, and once with a program inspired by an exhibit at the University’s Vicki Myhren Gallery exploring color.

We are proud to be part of the premiere US tour of globalFEST On the Road. This mini-festival of three performers from Brazil, Haiti, and Jamaica creates a “Creole Carnival.” The season ends with two shows sure to burn up the stage. The thrilling young guitarists Julian Lage and Chris Eldridge will amaze you, and Billy Childs’ reimagination of the music of singer-songwriter Laura Nyro (performed by everyone from Barbara Streisand to the 5th Dimension, from Blood, Sweat and Tears to Peter, Paul and Mary), including three singers, Dianne Reeves, Becca Stevens, and Alicia Olatuja, will end the season in high style.

Welcome to your performing arts center at the University of Denver. Have a great time!

Stephen W. SeifertExecutive Director

NEWMAN CENTER STAFFEXECUTIVE Gregg Kvistad, Provost and Executive Vice Chancellor Stephen W. Seifert, Executive Director Richard Michel, Budget Officer Cathy Kaufman, Executive Assistant

EVENT SERVICES Diane L. Roth, Assistant Director Amanda Swartzbaugh, Event Manager Ramsey Walker, Event Coordinator

MARKETING Natalie Raborn, Marketing Director

PATRON SERVICES Dee Getchel, Assistant Director

PRODUCTION SERVICES Garret Glass, Assistant Director Shakeel Wahab, Stage Operations Coordinator/

Audio Engineer Zack Jovanovich, Stage Operations Coordinator/

Lighting Engineer

TICKETING SERVICES Richard Moraskie, Assistant Director Max Manoles, Assistant Manager of Ticketing

ADVERTISING INFORMATION

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Angie Flachman Johnson, PublisherTod Cavey, Director of Sales

Stacey Krull, Production ManagerMark Fessler, Press Manager

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NEWMAN CENTER’S VISION STATEMENT

At the Robert and Judi Newman Center for the Performing Arts, our responsibility, our purpose and our vision are to:

• Celebrate, entertain, inspire and feed the imagination

• Give voice to the innate human need for expression through performance

• Educate and prepare better citizens of our community

• Begin conversations of ideas

• Foster an eagerness for and habits of curiosity and learning

• Make the major sources of our own and other cultures accessible to our community

• Embrace our differences; celebrate diversity of forms, attitudes, traditions and populations

• Challenge assumptions and encourage creativity and new work, even at the risk of failure

• Help teach our cultural heritage through the performance of great works from the past and support creativity by contemporary artists whose new voices will be remembered in the future

• Demand excellence and integrity without avoiding controversy

• Remind our community that the performing arts have value to our society because they:

• Create self-esteem, which is earned by striving to achieve high standards

• Integrate with other disciplines such as language, history, math and science

• Foster communication and interpersonal skills

FROM THE CHANCELLOR

Welcome to another remarkable evening at the Robert and Judi Newman Center for the Performing Arts. With its beautiful concert halls and theaters designed specifically to showcase human creativity, the Newman Center is a crown jewel of Denver’s arts scene. There is no other complex like it anywhere in the state.

Over the years, Denver audiences have come to count on the Newman Center and its acclaimed performing arts series. Night after night, the curtain rises on cutting-edge dance troupes, avant-garde music ensembles, or theatrical companies with an experimental bent. By helping us explore our common humanity and look at life from differing perspectives, these productions foster thought, appreciation, delight and community. This is just one of the many ways in which the University of Denver lives its vision of serving the public good.

The Newman Center’s stages also enable our students to demonstrate their remarkable talent. This building helps us to attract some of the most promising and talented young people in the nation, and every production by students in our Lamont School of Music and Department of Theatre showcases their energy, enthusiasm and dedication. Here at the Newman Center, our students pursue their passions and discover their capacity to collaborate and create. To which the rest of us can only say, encore.

Enjoy tonight’s performance. May it be just one of many offerings you enjoy with us this season!

Rebecca ChoppChancellor, University of Denver

Oct 10: First Night: A Brass FantasiaNov 21-22: Brass & Organ: Pedal to the Medal

Dec 19-20: Feels Like Christmas

Feb 14: Brass on the Red CarpetMar 11-13: Celtic Tales of Love & WarMay 28: 2nd Annual “Colorado Remembers”

303-832-HORN(4676)DenverBrass.org

Buy your tickets online: www.newmantix.com

35th Emerald Anniversary 2015-2016 Season

Oct 10: First Night: A Brass FantasiaNov 21-22: Brass & Organ: Pedal to the Medal

Dec 19-20: Feels Like Christmas

Feb 14: Brass on the Red CarpetMar 11-13: Celtic Tales of Love & WarMay 28: 2nd Annual “Colorado Remembers”

303-832-HORN(4676)DenverBrass.org

Buy your tickets online: www.newmantix.com

35th Emerald Anniversary 2015-2016 Season


THANK YOUWe applaud the following partners for their support of the Robert and Judi Newman Center for the Performing Arts at the University of Denver. Because of their generosity, Newman Center Presents can introduce dancers, musicians, actors, singers, composers and storytellers to the university community and our fellow citizens throughout Denver and Colorado.

If you are interested in becoming a Newman Center Presents sponsor, please contact Natalie Raborn, Marketing Director, at [email protected] or 303.871.4154.

FOUNDING PARTNERS

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Companhia Urbana de DançaSun, Jul 19, 2015 / 2:00 p.m.In collaboration with the Biennial of the Americas, Newman Center Presents will bring this Rio de Janeiro-based dance company to Denver for a week of activities culminating in a full-length performance at the Newman Center. The dancers will also, together with the dancers of Denver’s Wonderbound, create a new dance work to premiere at the Biennial of the Americas Festival. Companhia Urbana de Dança will also lead free public dance workshops for people of all ages and experience and a master class for dancers. Sonia Destri Lie, the company’s choreographer, will participate in a panel discussion at the Biennial Pavilion about the intersection between art and social issues.

Sponsored by Newman Center Members

Twyla Tharp50th Anniversary TourThu, Sep 24, 2015 / 7:30 p.m.Fri, Sep 25, 2015 / 7:30 p.m.Fifty years ago, Twyla Tharp choreographed her first dance. This year, she celebrates her unique legacy in American modern dance with all new works. In the intervening years, she and her own company have toured the world performing original works set to classical, jazz, and popular music. Twyla Tharp Dance eventually merged with American Ballet Theatre, which continued to premiere new Tharp works. She has made dances for Paris Opera Ballet, The Royal Ballet, and New York City Ballet, as well as for her own

dance musical Movin’ Out and such other Broadway shows as Singin’ in the Rain and The Times They are a-Changin’! She has collaborated on films such as Hair, Amadeus, and White Nights, as well as PBS and BBC television programs. She has received two Emmy Awards, a Tony Award, 19 honorary doctorates, the National Medal of the Arts, a MacArthur Fellowship, among many other distinctions.

Sponsored by Founding Partner The Denver Post

This project also received support from the National Dance Project/New England Foundation for the Arts, with lead funding from the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts (NEA).

Colorado SymphonyInside the Score: Brahms’s 4th SymphonyTue, Oct 6, 2015 / 7:30 p.m.The evening begins with a performance of Mozart’s Horn Concerto No. 3, featuring Colorado Symphony Principal Horn player Michael Thornton as soloist. Then we will go “inside” Brahms’s 4th Symphony. This work astonished Brahms’s friends when they first heard it in a piano version. Some urged him not to release it to the public. But its premiere a few months later was positively received. It went on to become one of the pillars of the symphonic repertoire, even being seen as a summing up of western musical traditions to that point, and an introduction to the world of Ives, Stravinsky and Schoenberg. The Colorado Symphony’s

new Associate Conductor Christopher Dragon will lead an in-depth exploration of this last symphonic work of Brahms’s career, including musical illustrations, followed by a full performance.


Vertigo DanceCo-Presented with the Mizel Arts and Culture Center at the JCCSat, Oct 17, 2015 / 7:30 p.m.Vertigo Dance was founded in Israel in 1992 by Noa Wertheim and Adi Sha’al and is dedicated to bringing people together and touching them through the language of the body in motion. Wertheim, her three sisters, and their families founded the Vertigo Eco-Art Village, the home to Vertigo Dance and a School for Earth Building for the use of renewable, local materials and ancient building techniques, workshops and classes in art and practical ecology, a community recycling center offering workshops, an artists’ residence for local and foreign artists, and outreach performances for diverse communities including those with disabilities and special needs. Their goal is to create a family model based on ecological and social principles that can be passed from community to community, even country to country.

The major work on this Colorado premiere by Vertigo Dance is called Reshimo, a Kabbalistic idea suggesting the impression light makes—the afterimage—once one is in darkness. It is set to a hauntingly beautiful musical score by Israeli composer Ran Bagno.

Supported in part by a generous grant from MDC Holdings/Richmond American Homes Foundation.

2015-2016 SEASONAll performances take place in June Swaner Gates Concert Hall at 7:30 p.m., unless otherwise noted, and include a free Behind the Curtain discussion one hour before curtain with guest lecturers. Check www.newmancenterpresents.com for additional details. Artists and programs are subject to change.

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Michael FeinsteinThe Great American SongbookCo-Presented with the Mizel Arts and Culture Center at the JCCThu, Oct 22, 2015 / 7:30 p.m.Michael Feinstein’s suave vocalism, irresistible charm, and remarkable insights into popular song make his concerts wonderful celebrations of the genre. He has been dubbed “The Ambassador of the Great American Songbook,” has released multi-platinum-selling albums, and has been nominated twice for an Emmy and five times for a Grammy Award. His 200-plus shows a year have included performances at Carnegie Hall, Sydney Opera House, and the Hollywood Bowl, as well as the White House and Buckingham Palace.

More than simply a performer, Feinstein has received national recognition for his commitment to celebrating America’s popular song and preserving its legacy for the next generation. In 2007, he founded The Great American Songbook Foundation, dedicated to celebrating the art form and preserving it through educational programs, master classes, and the annual High School Vocal Academy and Competition, which awards scholarships and prizes to students across the country. Feinstein serves on the Library of Congress’ National Recording Preservation Board, an organization dedicated to ensuring the survival, conservation, and increased public availability of America’s sound recording heritage.


Anonymous 4Final Season Tour1865 – Songs of Hope and Home from the American Civil Warwith Bruce Molsky, fiddle, banjo, guitar, and vocalsSat, Nov 14, 2015 / 7:30 p.m.Anonymous 4’s third and last album of their American Trilogy recordings for harmonia mundi—and their final brand new touring program—commemorates the 150th anniversary of the end of the American Civil War. 1865 focuses on the personal experiences of men, women, and children from the north and the south toward the end of the Civil War and in its immediate aftermath. The songs may originally have been written for the stage or the parlor, or they may have emanated from the hills and back roads of America. Many of the songs in 1865 were published between 1861 and 1865; others first appeared in print earlier but were sung constantly during the War years, perhaps in an effort to bring to mind the familiar and the good. Yet other songs and instrumental tunes are not datable; by the year 1865, they had already been passed down from generation to generation without the aid of the printed page.

Joining Anonymous 4 for this project is Bruce Molsky, renowned old-time fiddler, master banjo and guitar player, and vocalist. Anonymous 4 and Bruce have put their own stamp on the songs in 1865, including five-part harmonies on the Stephen Foster gem “Hard Times, Come Again No More,” “Home, Sweet Home,” and “Listen to the Mocking Bird” accompanied by the minstrel banjo; the high lonesome sound on folk songs such as “Bright Sunny South”; Bruce’s fiddle and banjo playing on instrumental tunes “Rebel Raid”; “Polly Put the Kettle On”; and the four-part a cappella singing of Anonymous 4 on the hymn “Abide with Me.”


Boston Brass & the Brass All-Stars Big Band Christmas Bells are Swingin’!Wed, Dec 2, 2015 / 7:30 p.m.Boston Brass has expanded their trademark entertainment by teaming up with all-star brass players from Denver to produce an unmatched sound that will brighten your holiday season. The brass ensemble (trumpets, French horns, trombones and tubas) with jazz rhythm section features fiery big band arrangements of classics such as the Stan Kenton Christmas Carols, “Greensleeves,” and “Motown Jingle Bells” in a setting that will delight audiences of all ages. The concert also includes holiday favorites performed by the Boston Brass such as “Three Dances” from the Nutcracker, “Christmas Song,” and “White Christmas.” This ensemble of virtuoso musicians will light up the stage and warm every heart.

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Brooklyn RiderAlmanacThu, Jan 14, 2016 / 7:30 p.m.The adventurous, genre-defying string quartet Brooklyn Rider makes its Denver premiere in a performance of new works that are all part of its inventive and entertaining Almanac project. Taking a cue from the Blue Rider artist collective (Der Blaue Reiter) of the pre-WWI era, the quartet invited an exciting group of composers—including Wilco’s Glenn Kotche, singer-songwriter Aoife O’Donovan, Deerhoof’s Greg Saunier, and a host of jazz luminaries including guitarist Bill Frisell, pianist Vijay Iyer, and Ethan Iverson of The Bad Plus—to create new music. Each composer chose a personal creative muse as inspiration, ranging from Igor Stravinsky

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to Keith Haring, Chick Corea to John Steinbeck, David Byrne to James Brown, choreographer Mark Morris to Aboriginal Australian painter Albert Namatjira.

Allan Kozinn, music critic with The New York Times for many years, has said that “there is an incredible world taking shape, with young composers writing music that people want to hear, and hear about, and a style/era change as significant as the shift from Baroque to Classical or Classical to Romantic.” Brooklyn Rider is an integral part of that movement.


Kyle Abraham / Abraham.In.MotionWhen the Wolves Came InIn collaboration with Cleo Parker Robinson Dance and the International Association of Blacks in Dance ConferenceWed, Jan 20, 2016 / 7:30 p.m.This Colorado premiere by Abraham.In.Motion features works inspired by Max Roach’s iconic 1960 protest album We Insist! (Max Roach’s Freedom Now Suite), itself created in anticipation of the 100th anniversary of the Emancipation Proclamation as well as to shed a light on the growing African independence movements of the 1950s. The potent themes inherent in these historical milestones are evident in Abraham’s choreography, evocative scenery by visual artist Glenn Ligon, visceral power of Roach’s masterwork, and original compositions of Grammy Award-winning jazz musician Robert Glasper.

Born into hip-hop culture in the late 1970s and grounded in his artistic upbringing in classical cello, piano, and the visual arts, Kyle Abraham’s movement delves into identity and personal history. His work entwines a sensual and provocative movement vocabulary with a strong emphasis on sound, human behavior, and all things visual. Abraham founded his own

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company in 2006, and, in the comparatively short time since, has been selected as one of Dance Magazine’s 25 To Watch for 2009; won a 2010 Bessie Award for Outstanding Performance in Dance and a Princess Grace Award for Choreography; and was called the “best and brightest creative talent to emerge in New York City in the age of Obama” by OUT Magazine in 2011. In 2012, he received the Jacob’s Pillow Dance Award, a USA Ford Fellowship, and was named the New York Live Arts Resident Commissioned Artist for 2012–2014. In 2013, he was awarded a MacArthur Fellowship (the “genius grant”).

Presenting Sponsor – Creative Instinct, Inc.

This project also received support from WESTAF, the Western States Arts Federation; and the National Endowment for the Arts.

S-o Percussion with Shara Worden, vocalsSat, Feb 6, 2016 / 7:30 p.m.For over a decade, S -o Percussion has redefined the modern percussion ensemble as a flexible, omnivorous entity, pushing its voice to the forefront of American musical culture. S -o Percussion’s career now encompasses 16 albums, tours throughout the United States and around the world, a dizzying array of collaborative projects, several ambitious educational programs, and a steady output of its own music. S -o Percussion is heavily involved in mentoring young musicians and is the newly appointed Edward T. Cone Ensemble-in-Residence at Princeton University.

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But Shara Worden can. Born in El Dorado, Arkansas and then raised all around the country, Worden came from a musical family of traveling evangelists. She went on to study operatic voice and then classical composition after a move to New York City. Worden is the lead singer for My Brightest Diamond and has worked with Laurie Anderson, Pulitzer Prize-winning composer David Lang, David Byrne, Music, Bon Iver, and The Blind Boys of Alabama.

For their third time with Newman Center Presents, S -o Percussion will perform “Music for Wood and Strings” by The National’s Bryce Dessner. S -o and Worden will perform Shara’s own “Timeline.”


Paul Taylor Dance Company featuring the world premiere of a new workCo-Commissioned by Newman Center PresentsSat, Feb 20, 2016 / 7:30 p.m.Sun, Feb 21, 2016 / 2:00 p.m.Dancemaker Paul Taylor, one of the seminal artists of the 20th and 21st centuries, continues to shape the homegrown American art of modern dance that he has helped define since he became a professional dancer and pioneering choreographer in 1954. Newman Center Presents has co-commissioned a new work by Taylor that will have its world premiere at these performances.

This project received support from WESTAF, the Western States Arts Federation; the National Endowment for the Arts; and The Antonia and Vladimer Kulaev Cultural Heritage Fund, Inc.

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2015/2016 SeasonCantata Insights Series: Wachet auf, BWV 140 • Sunday, November 15, 5:00 pm at Bethany Lutheran Church

Christmas Oratorio, BWV 248 • Saturday, December 19, 7:00 pm at Bethany Lutheran Church • Sunday, December 20, 6:00 pm at Griffin Concert Hall

St. John Passion, BWV 245 • Friday, March 18, 7:30 pm at Saint John’s Cathedral • Saturday, March 19, 7:30 pm at Bethany Lutheran Church • Sunday, March 20, 4:00 pm at Redeemer Lutheran Church

Cantata Insights Series: Weinen, Klagen, Sorgen, Zagen, BWV 12 • Sunday, April 17, 5:00 pm at Bethany Lutheran Church

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Colorado SymphonyLearning to Hear ColorThu, Feb 25, 2016 / 7:30 p.m.Many composers and musicians experience sounds as colors– among the most famous are Liszt, Rimsky-Korsakov, Sibelius, Bernstein, Ellington, Messiaen, and Ligeti. American composer Michael Torke even composed a suite called Color Music including such sections as “Bright Blue Music” and “Ecstatic Orange.”

In conjunction with an exhibition at the University of Denver’s Vicki Myhren Gallery called Learning to See Color, this concert explores the musical aspects of color. The Colorado Symphony’s new Assistant Conductor, Andres Lopera, will lead you through a program demonstrating that art created to be experienced through one sense, such as music, can actually lead to perceptions and feelings experienced through other senses—colors can be heard.


Metropolitan Opera Rising Stars Concert SeriesSat, Mar 5, 2016 / 7:30 p.m.Rising Stars of the Metropolitan Opera offers fans across North America a rare opportunity to experience remarkable young artists on the cusp of extraordinary careers. Each concert features singers carefully selected from the MET’s Lindemann Young Artist Development program—winners of the MET’s National Council Auditions—accompanied by piano in popular arias, duets, and ensembles by opera’s greatest composers.

For more than 125 years, the Metropolitan Opera has been the artistic home of the greatest singers in the world. But the MET is

also the launching pad for the opera stars of the future. Some of today’s leading artists got their first big break by winning the company’s National Council Auditions, as members of the Lindemann Program, and by catching the attention of MET talent scouts. Stephanie Blythe, Renée Fleming, Ben Heppner, Deborah Voigt, Thomas Hampson, and Eric Owens are just a few of the major artists to have come through the MET ranks. Another generation of young singers is ready to be discovered.


globalFEST On the Road Creole CarnivalTue, Mar 29, 2016 / 7:30 p.m.Experience three exciting artists in this mini-festival format. Over the past decade, globalFEST has become one of the most dynamic global music platforms in North America. What started as an annual showcase in New York City has grown into an international brand, building audiences for world music with stages at SXSW, Bonnaroo, and beyond. Founded in 2003, globalFEST spotlights artists who represent diverse global styles, bringing down boundaries between countries and creating cultural opportunities for collaboration. More than 120 emerging and established artists have performed at globalFEST, including such celebrated voices as Mariza, Lila Downs, and Angelique Kidjo. Following the January 2016 festival in New York, globalFEST’s first tour will begin, bringing this phenomenon across North America.

The inaugural tour, Creole Carnival, features Emeline Michel, the reigning queen of Haitian song; Casuarina, Rio’s innovative samba masters; and Brushy One-String, Jamaica’s charismatic one-string guitarist and vocalist.


Gabriel Kahane and Timo AndresSat, Apr 2, 2016 / 7:30 p.m.Sun, Apr 3, 2016 / 2:00 p.m.Hamilton Recital HallFor this performance two friends draw on four centuries of music to create a call and response experience. Solo piano transcriptions of Bach chorale preludes are mixed with songs for piano and voice by composers such as Franz Schubert, Robert Schumann, Thomas Adès, and Jerome Kern. Benjamin Britten’s folk song settings and Charles Ives’ songs are mingled with new pieces written by Gabe and Timo for each other, resulting in a live mix-tape concert.

Kahane is a tireless collaborator. His recent credits include a track on this year’s Beck Song Reader, performances and recordings with Newman Center favorite Chris Thile, and several projects with Sufjan Stevens.

Andres’ debut album Shy and Mighty was released in 2010 to immediate critical acclaim. Alex Ross wrote in The New Yorker that it “achieves an unhurried grandeur that has rarely been felt in American music since John Adams came on the scene ... more mighty than shy, [Andres] sounds like himself.”

This project received support from The Antonia and Vladimer Kulaev Cultural Heritage Fund, Inc.

Julian Lage and Chris Eldridge AvalonThu, Apr 21, 2016 / 7:30 p.m.Avalon, from Julian Lage and Chris “Critter” Eldridge, is a love letter to the sound of the acoustic guitar. Their set list is a mix of originals and covers that illustrate the breadth

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Learning to See ColorJanuary 14 - March 6, 2016

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COMMISSIONED WORKSThe Newman Center is committed to bringing new works of music and dance to life. We are excited to have commissioned or co-commissioned the following works:

Co-commissioner, “Kites Over Havana,” by Paquito D’Rivera, performed by the composer with Imani Winds

Commissioner, “WE MARCH,” Concerto for Guitar and String Orchestra, by Daniel Bernard Roumain, performed by Eliot Fisk, guitar, and the Stuttgart Chamber Orchestra

of the American songbook, incorporating bluegrass, country, gospel, old-time music, and jazz.

Julian Lage is an American guitarist, composer, and arranger. Hailed as a child prodigy, Lage was the subject of the Academy Award nominated documentary Jules at 8. His music is rooted in both traditional and acoustic forms, and he has had the opportunity to collaborate with renowned artists such as Jim Hall, Mark O’Connor, Béla Fleck, Gary Burton, David Grisman, and Joshua Bell. His debut recording, Sounding Point, was nominated for a 2010 Grammy Award for Best Contemporary Jazz Album of the Year.

As a member of Punch Brothers, guitarist Chris Eldridge has been at the vanguard of acoustic music for much of the past decade. Eldridge developed a deep love for acoustic music thanks in part to his father, a banjo player and founding member of the seminal bluegrass group The Seldom Scene. Eldridge later gained in-depth exposure to a variety of different musical styles while studying at Oberlin Conservatory. In 2005, he founded the bluegrass band The Infamous Stringdusters.


Billy ChildsMap to the Treasure: Reimagining Laura Nyrofeaturing Dianne Reeves, Becca Stevens, and Alicia OlatujaThu, May 5, 2016 / 7:30 p.m.

Laura Nyro, who died in 1997 at the age of 49, was one of the most important singer-songwriters of the late 1960s and early 70s. Her work is known more through covers of her songs—such as “Stoney End,” “Black Patch,” “Blowing Away,” “Wedding Bell Blues,” “Stoned Soul Picnic,” “Save the Country,” “And When I Die”—performed by others (Barbara Streisand; Blood, Sweat and Tears; The 5th Dimension; Peter, Paul & Mary; Three Dog Night) than through her own performances. Her compositions blend soul, gospel, jazz, show tunes, and pop. Billy Childs’ arrangements with vocals by Becca Stevens, Alicia Olatuja, and Denver’s own Dianne Reeves are a loving and powerful tribute to this influential artist.

Childs is a pianist, composer, and arranger, a three-time Grammy winner, and an artist who can fluidly move among jazz and other musical worlds. Denver’s own Dianne Reeves is a five-time Grammy Award winner for Best Jazz Vocal Performance, the only artist to win that award for three consecutive albums.

Supported by The Porter Adventist Hospital Endowment for the Performing Arts and by Newman Center Presenting Sponsor VAL-U-ADS®

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Brooklyn Rider 1

There will be a 20-minute intermission this evening.

No portion of this performance may be photographed, recorded, filmed, or videotaped.

Brooklyn RiderThursday, January 14, 2016

This programming is supported in part by The Gay and Lesbian Fund for Colorado Endowment for Diverse and Innovative Music, The Newman Center Endowed Fund for Cultural and Experiential Learning, and The Porter

Adventist Hospital Endowment for the Performing Arts.

SponsorNewman Center Members

Brooklyn Rider2

BROOKLYN RIDER

Johnny Gandelsman, violinColin Jacobsen, violinNicholas Cords, violaEric Jacobsen, cello

Ping Pong Fumble Thaw GLENN KOTCHE (b. 1970)

“Show Me” AOIFE O’DONOVAN (b. 1982)

String Quartet No.13, in A minor, Op. 29, D.804, “Rosamunde” FRANZ SCHUBERT (1797–1828) Allegro ma non troppo Andante Menuetto: Allegretto – Trio Allegro moderato

INTERMISSION

ArpRec 1 TYONDAI BRAXTON (b. 1978) 1a 1b

“Simpson’s Gap” from Gaps and Gorges PADMA NEWSOME (b. 1961)

“Five-Legged Cat” GONZALO GRAU (b. 1972)

“Tralala” CHRISTINA COURTIN (b. 1984)

Sheriff’s Liede, Sheriff’s Freude COLIN JACOBSEN (b. 1978)

The Brooklyn Rider Almanac Over a century ago, the cross-disciplinary relationship between the German composer Arnold Schoenberg and Russian-born artist Wassily Kandinsky greatly affected each of their creative psyches. The string quartet played a supporting role in their first encounter, and we look to their symbiotic friendship as a springboard for The Brooklyn Rider Almanac, a commissioning project and the title of our latest album.

Schoenberg’s Second String Quartet, the composer’s first full dip into the opaque waters of atonality, was a musical lightning rod that sharply divided audiences and critics alike. Following the riotous premiere in Vienna in 1908, the work received its Munich debut some three years later. In the audience for that performance sat Kandinsky. Transformed by Schoenberg’s music, Kandinsky’s style took a further step toward abstraction with his landmark painting, Impression III, a visual synthesis of that very concert. A friendship ensued between these visionaries and Schoenberg soon became associated with of a group of artists surrounding Kandinsky known

TONIGHT’S PROGRAM

PROGRAM NOTES

Brooklyn Rider 3

as Der Blaue Rieter (our very namesake). This group published Der Blaue Almanach in 1912; a highly eclectic collection of artwork, essays and music that served as an artistic testament to their era while also offering a vision for the future.

The unquenchable drive for artistic exploration and open embrace of the collective spirit displayed by Der Blaue Reiter are similarly hallmarks of today’s artistic zeitgeist, and The Brooklyn Rider Almanac attempts to honor the present. Using music as our project’s touchstone, we asked a select group of composers to create short works for us inspired by a creative muse from relatively recent memory. Not only did the composers readily accept the challenge, but the varied sources of inspiration—from David Byrne to Keith Haring to William Faulkner—were consistently a surprise and a delight to us.

Additionally, this project afforded us the opportunity to seek fresh perspectives on string quartet writing. On the surface, these composers come mostly from the other side of the classical fence; the worlds of jazz, rock, and folk. But more significantly, they represent some of our favorite musical thinkers and we were deeply confident they would have much to offer our medium. Our newly assembled cadre is inclusive of old friends and certain ‘musical crushes’—those we have long wished to approach, but lacked proper courage or circumstance. Recalling the eclecticism of Der Blaue Reiter Almanach, we have embraced the varied results and feel that our boundaries have been expanded in the process.

We are reminded at every turn of this project that music is a deeply immersive art form, something that cannot be understood divorced from its broader cultural context. By magnifying the creative force of inspiration, we hope that you will endeavor (as we do) to hear the music as only the tip of an iceberg. — Nicholas Cords

Ping Pong Thumble Thaw by Glenn Kotche, inspired by Jens Massel Several years ago, I heard a refreshing track of minimal electronic music from Cologne. The artist was Kandis, one of the moniker’s used by German artist Jens Massel. I then found other releases of his under the monikers Senking and Fumble. I began to listen to this music obsessively. It’s highly rhythmic, yet sparse with minimal grooves ebbing and flowing over evocative sound environments. Being a drummer, I am of course drawn to the grooves but also love the sounds Massel uses and combines to create these ambient electronic percussion songs. This is electronic music that somehow feels very human and organic.

I decided to write a solo drum kit piece inspired by some of these more high-energy recordings and then used that as the blue print for this string quartet for Brooklyn Rider. The title is comprised of words taken from Massel’s record titles that also work as descriptors for the four distinct sections of the piece.

The opening section, “Ping,” is exclusively pizzicato and full of rhythmic interplay. “Thaw” is comprised of long arco swells that directly contrast the preceding material. “Pong” features woody battuto rhythms, with the quartet acting more as drummers than string players. “Fumble” is the transition back into the hands of the main pizzicato theme and ultimate resolution of the piece. — Glenn Kotche

“Show Me” by Aoife O’Donovan, inspired by William Faulkner The first part of this tune started dancing around in my head during a train ride in Germany- I was in the middle of The Sound and The Fury, reading the classic for the first time, and something about the lonesomeness of Quentin in Cambridge spilled out in the melody. As the tune progresses and the strings swell, I imagine Quentin Compson’s adventure on the Charles River, and his nostalgia for the American South, resulting in the fiddle tune. Faulkner has such an intricate way with words--he’s able to create such depth of feeling with sometimes coarse and simple language, and I find that inspiring across all art. — Aoife O’Donovan

String Quartet No. 13 in A minor, Op 29, D. 804, “Rosamunde” by Franz SchubertGiven Franz Schubert’s undeniable stature in the pantheon of musical luminaries, it is a challenging exercise more than two hundred years later to imagine him as greatly under appreciated within his own lifetime. There was much left to be published of his work upon his death, much of it spread out in the hands of his small social circle in Vienna. He was known in his day as a composer of mere hausmusik; part songs, lieder and various pieces for piano. Almost none of his large scale works were known by the Viennese public, much less outside of Vienna. Schubert himself was not a virtuoso performer- he wrote no concertos, so his cause was not advanced by the popular virtuosos of the era. Italy was all the rage: the incomparable and devilish violinist Paganini was enormously popular, as was the music of Rossini.

And so it was left mostly to Schubert and his intimate circle of friends to organize evenings of informal performances comprised mostly of lieder and part songs with the ink still drying, referred to as Schubertiaden. It took later figures such as Robert Schumann, who was an extremely prescient observer of the musical landscape, to elevate Schubert’s status to a wider audience. Schumann’s

PROGRAM NOTES (continued)

4 Brooklyn Rider


description from an 1840 essay on Schubert’s 9th Symphony for the Neue Zeitschrift fur Musik could just as easily apply to tonight’s selection, the Rosamunde Quartet - “And this heavenly length, like a fat novel in four volumes by Jean Paul- never-ending, and if only that the reader may go on creating in the same vein afterwards. How refreshing is their sense of inexhaustible wealth where with others one always fears the ending, troubled by the presentiment of ultimate disappointment.”

Schubert’s Rosamunde Quartet (1824) marks an important transition in Schubert’s music for string quartet from the hausmusik-infused works (composed mainly with his family quartet in mind) to works of grand dramatic scope (the famed Death and the Maiden Quartet appeared in the same year). Reluctantly buoyed by the musicianship of the Ignaz Shuppanzigh Quartet and a desire to increase his public scope, this quartet was composed after an extended struggle with venereal disease. Schubert’s dark state of mind could be summed up in this excerpt from a letter to a friend: “I feel myself to be the most unfortunate, the most miserable being in the world.”

In this quartet, Schubert often draws from the world of his own songs to help convey a complex field of emotions. The figuration in the second violin at the beginning of the first movement is reminiscent of Schubert’s song Gretchen am Spinnrade (Gretchen at the Spinning Wheel), which calls to mind a similar sentiment expressed in the song: “My peace is gone, my heart is heavy, I’ll find it never, never again,” while the third movement draws from Schubert’s Die Götter Griechenlands (The Greek Gods) in which Friedrich Schiller’s text asks: “Fair world, where art thou, come again glorious age of nature.” The work gains its unofficial nickname from the Andante movement’s theme, taken from the composer’s incidental music to the Wilhelm von Chezy play Rosamunda. While this music conveys a serene pastoral, it is perhaps also a reference to yet another disappointment. By all accounts; the production was a colossal failure! The sense of the ultimate disappointment that grips the Rosamunde Quartet is finally broken by the work’s rousing Hungarian inspired finale, bringing this novel-length song without words to a conclusion. — Nicholas Cords

ArpRec 1The idea of the piece is using generative means to create phrases by manipulating a series of arpeggiators within the music software I use. Influences: Fred Lerdahl and Xenakis. — Tyondai Braxton

“Simpson’s Gap” from Gaps and Gorges by Padma Newsome, inspired by Albert NamatjiraMost Australians are strongly influenced by the land we live in. In particular those who have experienced the extraordinary beauty

and intensity of the inland deserts, the great distances, the heat, the micro beauty, the sudden glimpse of richness in blossom, life, and in the Central Desert, the glorious reddish rock structures of the Macdonnell Ranges Sheet, worn and eroded, emerging from the desert floor some 30 kilometers west of Alice Springs in the southern part of the Northern Territory. Slowly over millennia, gaps have been carved through these ranges, often permanent water sources, surprising oases in a harsh land. For me the “Gaps” in the title also refers to the gap between belonging to a place and one’s ability and rights to inhabit it. When Albert Namatjira, Arrente born, painted water colors of the region, his work was often described as being in a western European tradition, but it was with native eyes that he captured the essence of these lands, and stirred the imagination of a young Federation. The great irony was that his work became iconic to the white colonial intrusion that devastated the many rich and diverse cultures that make up indigenous Australia, his own people included. Further to this is the strange and odd story of my mother, isolated and often alone with young children, who found herself in a hot land not really of her own volition, and came to love it. She painted landscapes in oils. These paintings inhabited our houses throughout the years, and in my heart I always knew that Namatjira was of great inspiration to her, as he was to me. — Padma Newsome

“Five-Legged Cat” by Gonzalo Grau, inspired by Chick CoreaWhen asked to write a piece for Brooklyn Rider, I immediately thought about doing a Venezuelan merengue. I was born and raised in Caracas, Venezuela, and this is one of the styles of music I love the most. The Venezuelan merengue has a 5/8 meter, perhaps one of the only odd-metered rhythms in the Americas. Very contagious and beautiful, but hard to feel naturally. This rhythm comes from the capital, Caracas, and it has an urban evolution. Influenced by contradances and polkas, it was played originally in open squares. Venezuelan merengue has evolved in many directions, sometimes a little more cool and jazzy, sometimes very traditional with a touch of early 1900’s.

Brooklyn Rider is definitely the ensemble to open Venezuelan merengue to the world’s ears. I began my music studies at age three, studying cello, so I love to explore different kinds of effects, borrowing techniques “a la Piazzola” or even asking Brooklyn Rider to expand and create their own. I also grew up playing many different types of percussion, so I push the players to use their instruments and their whole body to complement the rhythms of merengue, and to give life to this piece.

Brooklyn Rider 5


ABOUT BROOKLYN RIDER

This piece is overall inspired by Chick Corea-- its colors, textures, and accents come from his enduring example. And what about the title, “Five-Legged Cat?” Venezuela is famous for its refrains, morals and street sayings. When someone is about to get in trouble, people say: “no le busques la quinta pata al gato (don’t look for the cat’s fifth leg).” This piece was born with a fifth leg so I think we don’t even have to look for the cat any longer ... the Rider has it. — Gonzalo Grau

“Tralala” by Christina Courtin, inspired by Igor Stravinsky Impulsively, I blurted out Stravinsky as my influence for “Tralala” before I even had a concept. I was listening to Firebird a lot at the time, wondering so many different things about how it came to be musically. Listening to “Tralala” reminds me little of the wonderful Igor, but I was hoping to perhaps capture some of the simpler melodic ideas that Stravinsky crafts so well (without all the harmonic “what have you”). A simpler Stravinsky... for children? “Tralala” is no masterpiece, but perhaps it offers a light, humorous destination for the listener’s ear and mind. — Christina Courtin

Sheriff’s Leid, Sherriff’s Freude (Sheriff’s Sadness, Sheriff’s Joy)This was written in honor of Brooklyn Rider’s very own Sheriff, the violist Nicholas Cords. Every group needs one—he lays down the law, keeps us on track and owns a badge that proves he has the authority to do so! The piece grew out of a week spent playing music with Martin Hayes, the great Irish fiddler, working on Dvorak’s “American” Quartet and admiration for one of America’s own homegrown fiddle styles: bluegrass. — Colin Jacobsen

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Hailed as “the future of chamber music” (Strings), the game-changing string quartet Brooklyn Rider presents eclectic repertoire and gripping performances that continue to draw rave reviews from classical, world, and rock critics alike. NPR credits Brooklyn Rider with “recreating the

300-year-old form of string quartet as a vital and creative 21st-century ensemble,” the Los Angeles Times dubs the group “one of the wonders of contemporary music,” and Vice likens its members to “motocross daredevils who never screw up a stunt.” Equally at home in clubs and concert halls, the quartet has played venues as varied as Carnegie’s Zankel Hall, the San Francisco Jazz Festival, Le Poisson Rouge, Japan’s Todai-ji, Lincoln Center, Brooklyn’s Littlefield, the Library of Congress, the Telluride Bluegrass Festival, and South by Southwest. Through visionary programming and global collaborations, Brooklyn Rider’s “down-to-earth demeanor … demystifies contemporary classical music and invites everyone into the tent” (Time Out New York).

Last season the group celebrated its tenth anniversary with the groundbreaking multi-disciplinary project Brooklyn Rider Almanac, for which it recorded and toured 15 specially commissioned works, each inspired by a different artistic muse. In the 2015-16 season

the players continue to perform these works in concert and will pair them with standard classics of the repertoire, including Schubert’s String Quartet No. 13 in A Minor, “Rosamunde.”

The group will also continue to explore collaborations, including with singer-songwriter Gabriel Kahane, whose new album will be released in February. The recording features Kahane’s The Fiction Issue, a work first performed in 2012 that was commissioned for Brooklyn Rider by Carnegie Hall. The players will tour with Kahane in February 2016,* as well as undertake their own seven-city tour of Sweden, Denmark and Germany the following month. Closer to home, the group will be Ensemble-in-Residence at National Sawdust, a new performance space in Williamsburg, Brooklyn, with the residency entailing four performances across the season.

Last year, alongside its ambitious and well-received Brooklyn Rider Almanac, the quartet had a residency at the University of North Carolina at Chapel Hill, crowned by the world premiere of Veils and Vespers by Pulitzer Prize winner John Luther Adams. It also performed the New York premiere of Chalk and Soot, a collaboration between quartet violinist Colin Jacobsen and choreographer John Heginbotham, at Lincoln Center’s White Light Festival, and toured with banjo legend Béla Fleck. The players celebrated the tenth anniversary season of the Stillwater Music Festival, a weeklong Minnesota chamber festival they founded in 2006 as a place to unveil new repertoire and collaborations.

6 Brooklyn Rider

The Newman Center would like to thank Colin Jacobsen and Nicholas Cords for leading the Behind the Curtain lecture.

THANK YOU

See complete event descriptions on pages 10-23 of the Newman Center Presents program.

Kyle Abraham Dance/Abraham.In.MotionWhen the Wolves Came InWed, Jan 20, 2016 / 7:30 p.m.

S-o Percussion with Shara Worden, vocalsSat, Feb 6, 2016 / 7:30 p.m.

Paul Taylor Dance CompanySat, Feb 20, 2016 / 7:30 p.m.Sun, Feb 21, 2016 / 2:00 p.m.

Remember:COMPLIMENTARY parking is available for all Newman Center Presents shows in the Newman Center garage.

UP NEXT

Join us before each Newman Center Presents performance for an opportunity to learn more about anything from the evening’s program to the history and influences of the genre to key moments to watch and listen for during the performance. Tickets are not required for

these FREE Behind the Curtain talks, and no RSVP is necessary. Talks take place one hour before curtain in June Swaner Gates Concert Hall, entering on Orchestra Level East for seating.

BEHIND THE CURTAIN

ABOUT BROOKLYN RIDER (continued)

Other recent highlights include the group’s Wigmore Hall debut in 2014, showcasing repertoire from the album A Walking Fire, which was also toured across the U.S. and northern Europe. The players collaborated with soprano Dawn Upshaw and performed at the Ojai Music Festival, the U.S. Open tennis tournament, the Cologne Philharmonie, Rome’s American Academy, Sweden’s Malmö Festival, the Lincoln Center Festival, Philadelphia’s Kimmel Center, and Texas’s South by Southwest, where the quartet was the only classical group with an official invitation to play.

Brooklyn Rider often appears under the umbrella of outside initiatives started by its members. In 2003, violinist Johnny Gandelsman created In A Circle, a series of New York performance events exploring connections between music and the visual arts. He launched In A Circle Records in 2008 with the release of Brooklyn Rider’s eclectic debut recording, Passport, followed by Dominant Curve in 2010, and Seven Steps in 2012; the first two albums made NPR’s year-end round-ups, while the third was named an NPR listener favorite. In 2013 In A Circle released violist Nicholas Cords’ solo recording, Recursions. Colin and Eric Jacobsen are co-founders of acclaimed New York-based orchestral collective The Knights,

and all four quartet members take part in Yo-Yo Ma’s Silk Road Ensemble, with which they have performed worldwide and recorded three albums for Sony Classical. A longstanding relationship between Brooklyn Rider and another Silk Road Project member, Iranian kamancheh player Kayhan Kalhor, resulted in the critically acclaimed 2008 recording Silent City. Other recent recording projects include 2013’s A Walking Fire on Mercury Classics and The Impostor with Béla Fleck on Deutsche Grammophon/Mercury Classics, plus 2011’s much-praised Brooklyn Rider Plays Philip Glass on the composer’s Orange Mountain Music label.

A public radio favorite, Brooklyn Rider has been featured on NPR’s Tiny Desk Concerts, On Point, All Songs Considered, Deceptive Cadence, and All Things Considered; WNYC’s Soundcheck; and American Public Media’s Performance Today; as well as on NY1 television in New York City. The ensemble’s recordings are played across North America on stations ranging in focus from classical to world, jazz, pop, and new music.

*Gabriel Kahane will be performing along with Timo Andres at the Newman Center on April 2 and 3, 2016.

7Brooklyn Rider

For information about becoming a Newman Center Member and donor opportunities, please see pages 30-36 of the Newman Center Presents program.

Memberships and Donations received July 1, 2014–June 30, 2015 are listed on pages 44-46 of the program.

Newman Center Memberships since July 1, 2015

BENEFACTORRobert and Judi Newman

PARTNERDiana and Michael KinseyStephen Seifert

SPONSORArmin Afsahi and Joe EklundGregg Kvistad and Amy Oaks Natalie and Sean Raborn

SUPPORTERWilliam A. Stolfus and Andrea G. Richardson

CONTRIBUTORMatt and Carmen ChalekRussell DeWittDavid Rosentrater Ruth Elaine SchoeningJenene C. and James J. Stookesberry

FRIENDAndrea Elizabeth Faley Ann Marie Kaplan Joan B. and Richard L. McGeeMarriott W. and John Smart

NEWMAN CENTER MEMBERS & DONORS

Newman Center Donors since July 1, 2015AnonymousLeslie S. Beltrami Meredith Black and L. Roger HutsonBonfils-Stanton FoundationMary BrothersJoan Brown David Charmatz Community First FoundationTerri Hoopes Cathy KaufmanRobert KeatingeAntonia & Vladimer Kulaev Cultural Heritage FundBettina KurowskiMDC/Richmond American Homes Foundation

Isabelle Marques Yolanda McAllister Richard MoraskieJean and Ed OnderkoWilliam Rauschert and Carolyn A. Agosta Thomas ReidPaula RoneyKathy and Donald RosenkransDavid Rosentrater Kathryn Spuhler

In memory of Fran Seifert Karin Bond

Newman Endowment for Experiential & Cultural LearningIn honor of Margot and Allan FrankIn honor of Sue Anschutz Rodgers Beverlee Henry and Bob Fullerton In honor of Stephen Seifert Barbara Neal

In honor of Robert and Judi Newman Jennifer Newman

In honor of Cynthia Secor Adrian Tinsley

Before each Newman Center Presents performance, starting at 6pm, DU Catering Services offers a selection of tasty snacks for purchase in Joy Burns Plaza. So whether you come before the Behind the Curtain lecture or head into the Plaza afterwards, you can get a quick bite before show time!

Gift Certificates in any amount are available at the Newman Center Box Office and are redeemable for the purchase of tickets for any performance of the Newman Center Presents 2015–16 Season. They are perfect for birthdays, anniversaries, and special gifts year round! The Box Office is open 10 a.m.–4 p.m. Mon–Fri, 12 p.m.–4 p.m. Sat (Sep–May), and one hour before performances.

FOOD FOR THOUGHT

GIVE THE GIFT OF THE ARTS—GIFT CERTIFICATES!

8 Brooklyn Rider

The origin of Brooklyn Rider’s name comes from the artistic collective Der

Blaue Reiter (The Blue Rider), and the fact that Brooklyn is home to all

four members.

DID YOU KNOW?!


9Health Fair Ballet Nouveau Colorado Capitol Hill People’s Fair Central City Opera Cherry Creek Arts Festival Cinco

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Newman Center for the Performing Arts Taste of Colorado The Wildlife Experience Vail Valley Foundation

9Health Fair Ballet Nouveau Colorado Capitol Hill People’s Fair Central City Opera Cherry Creek Arts Festival Cinco

de Mayo Colorado Ballet Colorado State Fair Denver Art Museum Denver Black Arts Festival Denver Botanic

Gardens Denver Center A� ractions Denver Center Theatre Company Denver Film Society Denver Museum of Nature

& Science Denver Polo Classic Denver Public Library Dining Out for Life Dumb Friends League Foothills Art Center


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American higher education institutions play a critical role in the nation’s performing arts ecology. Of the approximately 4,000 colleges and universities in the United States, about 2,300 of them have a professional

“presented series” in the performing arts. The roots of some university presenting programs, such as the University Musical Society in Ann Arbor, reach back over 125 years. Often such programs were, at the beginning, simply a labor of love for an individual faculty member. Over the second half of the 20th century, such programs grew and became more organized and professional. Today, universities are among the most important patrons of the performing arts in the country. They commission artists to create new work, offer important residencies for artists to develop their work, share their knowledge and skills with students and communities, and present performances in their cities and towns that might not otherwise occur there.

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Co-commissioner, “Foreign Bodies,” by Diavolo Dance Theater, commissioned by the Los Angeles Philharmonic Orchestra, Esa Pekka Salonen, Music Director, and co-commissioned by the Carpenter Performing Arts Center, Cal State Long Beach

Co-commissioner, “Reign Forest,” by Robert Moses, co-commissioned by EcoArts Connections and Lincoln Center Fort Collins, performed by Robert Moses’ Kin Dance Company

Co-commissioner, “Provenance,” by Maya Beiser with composers from Israel, Palestine, Algeria, Morocco, Iran and the US, co-commissioned by The Carnegie Hall Corporation, The International Festival of Arts and Ideas, The Jerome Foundation, The Kathy Abelson Foundation, Ronald P. Stanton, NYFA, and NYSCA. Performed by Maya Beiser, cello, Jamey Haddad, percussion, Shane Shanahan, percussion, Bassam Saba, oud, and Shahrokh Yadegari, live electronics

Co-commissioner, “Bolero Colorado,” by Larry Keigwin, co-commissioned by EcoArts Connections and the Denver School of the Arts, performed by Keigwin + Company and Denver community performers

Co-commissioner, “Imaginary City,” by So Percussion, co-commissioned by Myrna Loy Center/Helena Presents, Flynn Center for the Performing Arts, The Cleveland Museum of Art, DiverseWorks, and National Performance Network

Commissioner, “NO one To kNOW one,” by Andy Akiho, performed by the composer and The Playground (Lamont School of Music Artists-In-Residence) during the Newman Center Presents’ Mile High Voltage Festival

Co-commissioner, “the wood & the vine,” by David Lang, co-commissioned by University of California, Riverside and Santa Fe Concert Association

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Commissioner, “Lifeboat No. 6,” by Payton MacDonald, performed by the composer, JACK Quartet and Young Voices of Colorado during Newman Center Presents’ Voltage 2012

Co-commissioner, “From Darkness to Light,” music by Ofer Ben-Amots, choreography by Garrett Ammon, co-commissioned by Ballet Nouveau Colorado, Central City Opera, Colorado Symphony Orchestra, Robert E. Loup Jewish Community Center, Mizel Arts and Culture Center, and performed as part of A Journey of the Human Spirit

Commissioner, solo, acoustical guitar version of Derek Bermel original work “Ritornello” performed by guitarist Mak Grgić

Co-commissioner, Dance yet to be named, choreography by Paul Taylor, and performed in its world premiere by Paul Taylor Dance Company

Co-commissioner, Musical work for voice and piano yet to be named, by Timo Andres, co-commissioned by Carnegie Hall, The Schubert Club, and Van Cliburn Foundation, performed by the composer and Gabriel Kahane

Co-commissioner, Musical work for voice and piano yet to be named, by Gabriel Kahane, co-commissioned by Carnegie Hall, The Schubert Club, and Van Cliburn Foundation, performed by the composer and Timo Andres.

BEHIND THE CURTAINThe Newman Center hand-selects each and every Presents performance, bringing to Denver entertaining, intriguing, and thought-provoking dancers, actors, and musicians. We invite you to join us for free Behind the Curtain discussions where artists, members of the ensembles, or experts in the field discuss anything from that evening’s program to the history and influences of the genre to key moments to watch and listen for during the performance.

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Talks are free, take place in June Swaner Gates Concert Hall, are open to the public, and start one hour before curtain. Tickets are not required for these pre-performance talks and no RSVP is necessary.

Please check the Newman Center event calendar for updates to Behind the Curtain and upcoming speaker announcements. (Speakers are subject to change.)

THE LAMONT SCHOOL OF MUSIC AND DEPARTMENT OF THEATRE

The University of Denver’s Lamont School of Music presents more than 300 concerts a year. Complimentary performances include concerts by the symphony orchestra, choirs, wind ensemble, soloists, jazz ensembles, and steel drum ensemble. Some of these concerts require free tickets. Complimentary tickets are available in person at the Newman Center Box Office or may be reserved online or by phone for a small service charge at www.newmantix.com or 303.871.7720.

Again this season, $5 reserved seats in the Parterre section may be purchased for Lamont Symphony Orchestra concerts. In addition to free concerts, faculty recitals and guest artist performances are presented with a $10 ticket price. DU students, Pioneer Card holders, and other students with valid ID are complimentary.

Fall and Spring Lamont Operas and Musicals, Guys and Dolls and Cosí fan tutte, are reserved seating ranging from $11 to $30.

Summer and holiday carillon concerts are presented on the Ritchie Center lawn by artists from around the nation.For information, visit www.du.edu/lamont or call the concert line at 303.871.6412. Follow us on Facebook, Twitter, and YouTube.

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DU’s Department of Theatre offers students the ability to take part in numerous productions throughout the academic year, including a full slate of student-created productions, all of which are open to the public.

For the 2015-16 season, The Department of Theatre will present:• A staged reading of Columbinus by Stephen

Karam and PJ Paparelli (Sep 2015, Byron Theatre)

• Fall Quarter’s main stage productions of Bad Jews by Joshua Harmon (Oct 2015, White Box Theatre at J-MAC) and Two Rooms by Lee Blessing (Oct and Nov 2015, Byron Theatre)

• A staged reading of Hir by Taylor Mac (Jan 2016, Byron Theatre)

• Winter Quarter’s main stage productions of Eurydice by Sarah Ruhl (Feb 2016, Byron Studio in the Newman Center) and Little Shop of Horrors; book and lyrics by Howard Ashman, music by Alan Menken (Feb & Mar 2016, Byron Theatre)

• A stage reading of In the Next Room (or The Vibrator Play) by Sarah Ruhl (Apr 2016, Byron Theatre)

• Spring Capstone Cycle—Cycles 1 and 2: Senior Capstone Productions (Apr & May 2016, J-MAC Studios)

• Independent student productions throughout the year

• Call 303.871.2518 or visit www.du.edu/theatre for information about all Department of Theatre events.

Tickets for Lamont and Theatre productions can be purchased at the Newman Center Box Office, Monday-Friday, 10 a.m. – 4 p.m. and Saturday, 12 p.m. – 4 p.m. (Sep-May), by phone at 303.871.7720, or online at www.newmantix.com. (Phone and online orders are subject to service fees.)

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DU ENRICHMENT PROGRAM ADULT COURSES FOR

THE INTELLECTUALLY AND CULTURALLY CURIOUS

The Enrichment Program of University College, DU’s college of professional and continuing studies, connects the intellectually and culturally curious adult to DU’s outstanding faculty, facilities, and programming, and Denver’s rich cultural community through non-credit classes. Hand-picked scholars, classes that often include a special experience or event, discerning participants engaged in serious discussions, no grades, exams, or admission requirements—these are the ingredients that make the Enrichment Program so popular. The Newman Center proudly partners with the Enrichment Program to bring you innovative courses like you’ve never experienced before. Meet with DU’s expert faculty, gather with like-minded adults to embark on a unique and meaningful journey, and connect with Denver’s rich cultural community. Check program inserts for upcoming Newman Center-related classes. Fall 2015 registration is available now for classes held September through early-December, and Winter/Spring 2016 offerings, held mid-January through mid-May, will be announced in early December. To view and register for courses across a wide range of subjects, please call 303.871.2291 or visit www.universitycollege.du.edu/enrichment.

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MEET ROBERT AND JUDI NEWMANThese avid philanthropists, and winners of the 2014 Colorado Business Committee for the Arts’ John Madden Jr. Leadership Award, smile when they remember becoming involved in the campaign to create an

outstanding center for the performing arts at the University of Denver. Daniel L. Ritchie, then chancellor, invited Judi to head the effort when the Center was only a dream. Later, the Center was named in the couple’s honor. The couple’s passion for performing arts and education harmoniously intersected with the Newman Center, which is home to exceptional performance venues and DU’s Lamont School of Music and Department of Theatre. “Dan Ritchie has often said that love is the principal ingredient in any successful building,” says Judi. “The Newman Center, as well as the University’s many other new buildings, show just how true that is.” The Newmans appreciate the masterful collaboration between Ritchie and DU Architect Emeritus Cabell Childress, and the expertise of Joseph Docksey, then director of the Lamont School, and William Temple Davis, then chairman of DU’s Department of Theatre. They delight in the superb array of Newman Center Presents’ programs presented by Executive Director Stephen Seifert. Prominent in Denver’s cultural community, the Newmans serve on many boards. Among those, Bob is a Trustee of the Denver Center for the Performing Arts and the Denver Art Museum. He is a former member of DU’s Board of Trustees and currently serves on the Daniels School Executive Advisory Council. Judi sits on the Visiting Committee for the Frost School of Music, the Academic Affairs Committee, and the Board of Trustees of the University of Miami. “Each year brings more recognition to this venue and its world-class programs,” says Bob. “Judi and I are delighted to be part of the University of Denver community.”

THE POWER OF MEMBERSHIP = MAKING A DIFFERENCE

Our mission is to make the best performing arts programming available to our community. To do this, our ticket prices are held at a level that covers less than half of the true costs of our programming, operations, and maintenance. The difference is made up by your generous membership support.

Your membership to the Newman Center makes it possible for us to present the best in performing arts from around the world, provide student discounts and master classes for both university and K-12 students, and sustain a landmark facility recognized worldwide for its excellence. Please join the community of members with a fully tax-deductible membership that makes everything we do possible.

BECOME A NEWMAN CENTER MEMBER

Annual Membership starts for as little as $50, but the more you choose to give, the greater the difference you will make. (See below about the matching grant opportunity to double the value of your gift.) A portion of your Membership may be tax deductible. To become a Newman Center Member or for more information about our Membership program, please contact the Newman Center Box Office, Mon – Fri, 10 a.m. – 4 p.m.; Saturday , 12 p.m. – 4 p.m. (Sept – May), or at 303.871.7720.

Newman Center Membership Levels*

BENEFACTOR- $5,000All Partner Membership benefits, plus:• Exclusive post-performance “meet the

artist” and drinks with one visiting artist during the 2015-16 season (pending artist availability

• Two (2) complimentary Pick-Your-Own 3 guest subscriptions (3 shows total) to Newman Center Presents 2015-16 season shows

PARTNER - $1,000All Sponsor Membership benefits, plus:• Two (2) additional complimentary guest

passes to a Newman Center Presents performance of your choice in the 2015-16 season

• Invitation to pre-performance and intermission receptions for each Newman Center Presents performance (hosted bar and hors d’oeuvres)

SPONSOR - $500All Supporter Membership benefits, plus:• Invitation to a backstage tour• Two (2) complimentary guest passes to a

Newman Center Presents performance of your choice in the 2015-16 season

SUPPORTER - $200All Contributor Membership benefits, plus:• Four (4) additional complimentary drink

vouchers for any Newman Center Presents performance in the 2015-16 season

• Two (2) Orchestra seats to a Lamont School of Music Opera production (excludes annual musical) or a Theatre Department production of your choice (dates subject to availability)

CONTRIBUTOR - $100All Friend Membership benefits, plus:• Two (2) complimentary drink vouchers for

any Newman Center Presents performance in the 2015-16 season

FRIEND - $50• Priority notification of subscription

renewal dates• Priority notification of single ticket sale dates• Recognition in each performance program

for Newman Center Presents performances• Subscription to Curtain Call

*The amount paid for your Membership is tax deductible minus the fair market value of benefits received. If you decline all benefits, the entire amount of your Membership is tax deductible. Deductible amounts with benefits are: Friend - $50; Contributor - $94; Supporter - $142; Sponsor - $366; Partner - $690; Benefactor - $4,474.



MATCHING SUPPORT FOR THE PERFORMING ARTS

DU has committed $5 million to match every new gift of $10,000 or more in the Campaign for the Performing Arts. Your gift can be personalized and designated for a wide range of purposes, including endowment of Newman Center Presents programming and educational residency activities. During this campaign, the university is also matching any binding and future gifts from your estate.

We urge you to take advantage of this exceptional opportunity. Your contribution makes it possible to support the work of artists as they develop and present eclectic, inspirational, and thought-provoking performances.

To discuss DU’s Campaign for the Performing Arts, please contact Kellyn Smith, Senior Director of Development, [email protected] or call 303.871.4472.

WHAT GIFT DOLLARS CAN REALLY DOThank you to the generous donors who have created permanent endowments to support Newman Center Presents: Beverlee Henry and the Honorable Robert Fullerton (Newman Center Endowed Fund for Experiential and Cultural Learning), Celeste Grynberg (The Grynberg Family Endowment for Dance Programming), The Gay and Lesbian Fund for Colorado (The Gay and Lesbian Fund for Colorado Endowment for Diverse and Innovative Music), and Porter Adventist Hospital (The Porter Adventist Hospital Endowment for the Performing Arts).

During the 2015-16 season, these funds and other specific gifts and grants noted will help make the following programming a reality:

• Educational residency work and master classes with Twyla Tharp, Vertigo Dance, Brooklyn Rider, Kyle Abraham, S -o Percussion, Paul Taylor Dance, Metropolitan Opera Rising Stars, globalFEST On the Road, Gabriel Kahane

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and Timo Andres, Julian Lage and Chris Eldridge, and Billy Childs are supported in part by The Newman Center Endowed Fund for Cultural and Experiential Learning and grants from WESTAF.

• Twyla Tharp, Vertigo Dance, Kyle Abraham/Abraham.In.Motion, and Paul Taylor Dance are supported in part by The Grynberg Family Endowment for Dance Programming, a gift from Roger and Meredith Hutson, a grant from MDC Holdings/Richmond American Homes Foundation, and a grant from the National Dance Project of the New England Foundation for the Arts

• Brooklyn Rider, S -o Percussion with Shara Worden, and Gabriel Kahane with Timo Andres are supported in part by The Gay and Lesbian Fund for Colorado Endowment for Diverse and Innovative Music.

• All Newman Center Presents programming is supported in part by The Porter Adventist Hospital Endowment for the Performing Arts.

• Paul Taylor Dance and Gabriel Kahane with Timo Andres are supported in part by grants from The Antonia and Vladimer Kulaev Cultural Heritage Fund.

If you are interested in supporting Newman Center Presents, please contact Kellyn Smith, Senior Director of Development – Arts, Humanities and Social Sciences, [email protected] or call 303.871.4472.

If you work with a local organization or Denver-area K-12 school and would like to learn more about how Newman Center Presents artists might provide educational activities for your school or group, please contact Amanda Swartzbaugh, Event Manager, at [email protected] or call 303.871.2862. Please include the following: your name and position, name of organization or school, types of activities you may be interested in (e.g. jazz, dance, world music, vocal…), email address, and phone number.

THE LASTING DIFFERENCE MADE BY ENDOWMENT GIFTS

The construction of the Newman Center and all its public and backstage spaces was only possible because of generous donors, many of whose gifts have been recognized through the naming of spaces. Moreover, continued gifts to and income from the Newman Center Building Endowment help ensure constant care and upkeep of our world-class venues and state-of-the-art systems.

To maintain this excellence, the Newman Center Building Endowment needs to grow, and many naming opportunities remain for your gift to the Endowment.

Your gift to name a space in the Newman Center offers lasting recognition of your support of the Newman Center’s programming, operations, and facilities. Both current and testamentary gifts to the Newman Center Building Endowment are welcome. If you have already included the Newman Center in your estate, please let us know so that we may appropriately thank you.

If you would like more information about how to make a lasting difference to the Newman Center Building Endowment, to Newman Center Presents, or to help the Newman Center continue to make a lasting contribution to the performing arts in our community, please contact Kellyn Smith, Senior Director of Development – Arts, Humanities and Social Sciences, [email protected] or call 303.871.4472.

DONOR ACKNOWLEDGEMENTSThe Newman Center for the Performing Arts would like to express its gratitude to the following individuals and organizations who have given generously in 2014–15 (July 2014–June 2015) to support the Newman Center’s Scholarship, Maintenance, Operations and Programming, and Marketing Funds, the Newman Center Endowments discussed earlier, and Newman Center Memberships initiated during this time period:

Newman Center DonorsBonfils-Stanton FoundationCharmatz FamilyCommunity First FoundationHerschel and Barbara CravitzMax E. DonaldsonGeoffrey GordonBarbara Jean HamiltonAndrew HornbrookMeredith Black and L. Roger HutsonMDC/Richmond American Homes FoundationMontjoy C. and Frank A. KugelerAntonia & Vladimer Kulaev Cultural Heritage Fund, Inc.Susan Harriet MartinYolanda McAllisterDouglas G. and Laura B. MoranBarbara Neal and Ed EllisTracy PaigeForest O. PenetonKathy A. and Donald D. RosenkransRuth SchoeningStephen W. SeifertCarolyn StrandJ. Alton and Dorothy J. TemplinJoan B. WohlgenantJanalynn Sau Wong

In memory of Fran Seifert Karin Bond

In honor of Dee Getchel Frances H. and James W. Cosby

In honor of Beverlee Henry and the Honorable Robert Fullerton In honor of Robert and Judi Newman M Allan and Margot Gilbert Frank

In honor of Susanne W. Hamilton, Edith Berliner, and Max Wilmersdoerffer Barbara Hamilton and Paul Primus

Newman Endowment for Experiential & Cultural Learning In honor of Margot and Allan Frank In honor of Sue Anschutz Rodgers Beverlee Henry

In honor of Robert and Judi Newman Jennifer Newman

In honor of Jane Quinette Stephen W. Seifert and Davol G. Tedder

In honor of Cynthia Secor Adrian Tinsley

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PATRON INFORMATION

• The Newman Center for the Performing Arts is fully accessible to patrons in wheelchairs and to those with other special needs. Patrons needing accommodations for a disability should call the Box Office as early as possible at 303.871.7720.

• Parking is available in the Newman Center parking garage (complimentary for all Newman Center Presents events). Patrons are advised not to park in the neighborhood, as most side streets have one-hour parking only.

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

• No audio, photographic, or video equipment of any kind is allowed in the performance venues.

• Artists and programs are subject to change without notice.

• All sales are final. No refunds or exchanges.• Patrons are encouraged to call the Newman

Center for information on the suitability of events for children.

• The University of Denver is a smoke-free campus. Smoking is permitted only in the designated smoking area on S. York Street, south of the loading dock.

2014-2015 MEMBERS

BENEFACTORSBeverlee Henry

PARTNERSMargot Gilbert and M Allan FrankStephen W. SeifertDavol G. Tedder

SPONSORSGordon Appell Family Charitable FundDiana W. and Mike KinseyDavid R. and Florence Lynn LinkePaula J. MeadowsSean and Natalie Raborn – PowerQuip

SUPPORTERSCarolyn A. Agosta and William RauschertLeslie Smith BeltramiMary Jo CraigeKathryn HeetMarian D. LauterbachMichael E. Leighton – Sage Family FundDavid R. LinkeW. Peterson Nelson – Nelson Family FoundationJean and Ed OnderkoRichard K. Replin and Elissa Rae SteinGene E. and Nancy M. RichardsKathryn SpuhlerWilliam A. Stolfus and Andrea G. RichardsonAdrian Tinsley

CONTRIBUTORSRobert M. and Carole Cantor AdelsteinLisa AllenMary BrothersCharlene S. ByersJoel S. Cohen and Kathryn L. OberdorferGeoffrey G. GordonJames P. HayesRoger L. and Suzanne O. KinneySusan Harriett MartinWilliam MohrmanMike MooreJennifer NewmanDonovan and Phyllis RiegerPaula RoneyDavid RosentraterRuth Elaine SchoeningSusan Deese TracyCarol A. WilsonJeffrey Zax

FRIENDSKenneth A. and A. Louise BeardKarin BondThomas N. ButlerHilary CarsonMatt ChalekFrances H. CosbyRussel R. DeWittKatherine A. Dines and David Hunter MillerMiriam FarringtonPamela Herring and Martin EisenbergRobyn JacobsRoss and Vicki KazerJim LeNoirSarah LincolnIsabelle MarquesMark PallerSally G. PlummerKaren J. ShawJenene C. and James J. StookesberryKalli Van Maaren

(Gifts and memberships received on and after July 1, 2015 are acknowledged in the show insert in the middle of the program.)

NEWMAN CENTER PRESENTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING GENEROUS MULTI-YEAR SUPPORT:

THE GRYNBERG FAMILY ENDOWMENT FOR DANCE PROGRAMMING

THE NEWMAN CENTER FUND FOR EXPERIENTIAL AND CULTURAL LEARNINGestablished by Beverlee Henry and Hon. Robert Fullerton

THE PORTER ADVENTIST HOSPITAL ENDOWMENT FOR THE PERFORMING ARTS

THE GAY & LESBIAN FUND FOR COLORADO ENDOWMENT FOR DIVERSE AND INNOVATIVE MUSIC

THE NEWMAN CENTER FOR THE PERFORMING ARTS ENDOWMENTwith lead funding from the Lewis D. & John J. Gilbert Foundation, the John J. and Margaret R. Gilbert Foundation, the Clinton Family Fund, and Margot Gilbert Frank – for support of special programs and major projects

L. ROGER AND MEREDITH HUTSONgift for the expansion and support of Newman Center Presents dance programming

DONOR ACKNOWLEDGEMENTS(continued)

ASPEN | DENVER | 303 . 321 . 8188

As one of the region’s largest independent investment firms, Obermeyer Wood is dedicated to

helping our clients achieve their financial goals. We believe our value-oriented philosophy and

independent approach help us protect our clients’ capital while delivering attractive returns.

An independent perspective. A disciplined process. A commitment to putting clients first.

Learn more about our team and process at www.obermeyerwood.com.

ASPEN | DENVER | 303 . 321 . 8188

As one of the region’s largest independent investment firms, Obermeyer Wood is dedicated to

helping our clients achieve their financial goals. We believe our value-oriented philosophy and

independent approach help us protect our clients’ capital while delivering attractive returns.

An independent perspective. A disciplined process. A commitment to putting clients first.

Learn more about our team and process at www.obermeyerwood.com.

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newman center presents magazine 2015-2016, jan. 14, 2016

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