At the College of Music鈥檚 recent Eklund Opera gala, Chancellor Justin Schwartz described the magic of music as a hallmark of human connection; of a civilized society; and as its own kind of renewable energy. 

More broadly, in the words of Ukrainian-born writer Joseph Conrad, 鈥淎ll creative art is magic, is evocation of the unseen in forms persuasive, enlightening, familiar and surprising, for the edification of mankind.鈥� 

As I reflect on the first months of 2025, I鈥檓 struck by the countless ways in which our students, alumni, faculty, staff and supporters embody these values. In these disorienting times, I鈥檓 heartened that our mission is more relevant than ever鈥攁s is my commitment to continue to celebrate and support our students and colleagues in their transformative work and artistic aspirations. 

For example, I encourage you to discover how Associate Dean for Graduate Studies and Professor of Music Education Margaret Berg is creating sustainability through music education, ensuring the well-being of individuals and communities. By integrating human and environmental sustainability into music education, the College of Music is preparing students to make an impact on our interconnected society. Related, two graduate students鈥擭icholas Felder and Ian Gunnarschja鈥�received grants to support innovative projects that promote equity in music and wellness among neurodiverse musicians.

Creative courage and unique expression at our college are further personified by Enion Pelta-Tiller鈥攁 master鈥檚 candidate in jazz performance and pedagogy鈥攚hose ambitious, experimental approach to music brings together a wealth of coexisting influences and helped shape our new cross-genre ensembles and curricula. And, in case you missed it, our Distinguished Professor of Piano David Korevaar recently shared a delayed tribute to Beethoven鈥檚 semiquincentennial birthday鈥攁 labor of love and creative fortitude in the face of COVID-19 lockdowns and social distancing five years ago.

Additionally, more than 100 guest artists, ensembles and lecturers have energized our classrooms and graced our stages so far this academic year鈥攎ost recently including Kennedy Center honoree and five-time Grammy Award-winner , and Pulitzer Prize-winning Din茅 composer, musician and sound installation artist Raven Chacon; as well as visiting scholars in our Musicology + Music Theory Colloquium Series and local luminaries like alumnus 鈥攕on of the late Helen Walker-Hill and Pulitzer Prize-winning composer George Walker鈥攚ho presented a master class last week as part of our annual Persevering Legacy events showcasing works by women composers including those from historically marginalized groups. Also inspiring to our community this month was a musicians鈥� workshop led by Blues icon (and Boulder resident) , a Colorado Music Hall of Famer.

For all these reasons among many more, I remain steadfast in our resolve to inspire artistry and discovery, together. 

With gratitude, 

John Davis
Dean, College of Music

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will celebrate the impact and influence of Associate Professor of Jazz Studies Paul McKee who retires this year. In the following tribute, Professor of Jazz Studies John Gunther鈥攚ho directs our Thompson Jazz Studies Program鈥攔eflects on the remarkable career and contributions of the world-renowned jazz trombonist, arranger, composer and educator: 

For more than a decade, Paul鈥檚 contributions to the Thompson Jazz Studies Program and the College of Music have been of the highest caliber and his tenure at 91传媒 caps a 33-year career in higher education that began in 1991. 

Paul possesses remarkable artistry in his performance and composition. As a jazz trombonist, he is regarded as one of the top performers in the world. His ability on the instrument shows a level of artistry rarely heard. He is simply a beautiful player with a gift for swing and expressive melodic improvisation. 

As a composer and arranger, Paul is equally regarded as one of the best. Paul鈥檚 specialty as an arranger is in the tradition of big band swing, having spent many years on the road with one of the great touring swing bands鈥攖he Woody Herman Orchestra. He can create an arrangement that captures the spirit of the tradition of the music while adding his own contemporary voice. Many of his arrangements are performed by high school and college bands across the country. Creating a jazz composition that is accessible to young musicians yet still retains the sound and excitement of the idiom is not easily accomplished, but it is a craft that Paul has mastered. 

Paul approaches all his classes and applied lessons with high expectations for his students, a sense of genuine care, and a dedication to their growth and learning. At 91传媒, he has directed the department's large and small jazz ensembles, taught applied jazz trombone lessons, and taught Jazz Composition + Arranging and Jazz Theory + Aural Skills鈥攁s well as advised and directed graduate students in individual composition study. Just recently, while attending a concert, I heard how much growth had occurred in one of the young jazz trombonists. He had a grasp of jazz improvisation at a level that I had not heard just a few months before. When I complimented the student, he grinned and said, 鈥�... it鈥檚 because I鈥檓 studying with Paul!鈥� 

Paul has been an integral part of the growth and success of the College of Music鈥檚 jazz program. As department chair, I have always been able to rely on his steadfast commitment to his teaching and artistry. He will be greatly missed and leaves us with a legacy of great teaching and beautiful music making.

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A wealth of influences coexist in Enion Pelta-Tiller鈥檚 approach to music.

Classical components drawn from composers like Berlioz, Mahler, Bartok and Stravinsky; jazz violin echoes that summon the best work of Stephane Grappelli and other giants of the genre; folk and traditional elements that run the geographical gamut from Eastern Europe to Ireland to India鈥攁ll of these ingredients figure into Pelta-Tiller鈥檚 ambitious and unique brand of fusion.

It鈥檚 no wonder, considering her consistent dedication to musical exploration which started with childhood and college classical music studies in San Francisco and continued after she moved to New York, connected with her future husband/musical collaborator David Tiller and eventually landed in Colorado.

鈥淭he Bay Area was a great place to grow up, musically speaking,鈥� Pelta-Tiller recalls. 鈥淚 became quite interested in experimenting with improvisation and often spent hours improvising music that sounded like what I was supposed to be practicing, or played along with Coltrane, Miles, TISQ, Jascha Heifetz and Ravi Shankar records. I was in this environment of classical, new acoustic and bluegrass-adjacent music, jazz and Indian music鈥攁nd soaking it all up. 

鈥淲hen I moved to New York after college, I got involved in playing new music, rock, Irish music and bluegrass.鈥�

Combined, these influences helped carve out Pelta-Tiller鈥檚 unique niche in the local music scene, and show up in her work as a performer and an educator, as a composer and as a collaborator with musical luminaries from across the globe. She鈥檚 a founding member of the critically acclaimed indie-folk group  and directs our new Cross-Genre American Roots Strings Ensemble, roles that draw directly on her wide-ranging interests and skills. She鈥檚 also a master鈥檚 candidate in jazz performance and pedagogy at the College of Music, set to graduate in May.

Pelta-Tiller鈥檚 no-holds-barred musical approach is sure to figure in her upcoming show at  on March 11 with her group EnQuintet鈥攁 jazz ensemble that also features 91传媒 faculty members John Gunther on winds/reeds and Victor Mestas on piano as well as Eric Thorin on bass and Kevin Mathews on drums. 

鈥淭his time, we鈥檙e mostly focusing on repertoire from members of the David Grisman Quintet because I鈥檓 interested in how that music鈥攕o inspired by both jazz and bluegrass鈥攕ounds when played by more traditional jazz instruments instead of in a string band setting,鈥� she says. 鈥淔or a couple tunes, we鈥檒l add extra horns鈥擶il Swindler, Jonas Peterson and Cian Kruger鈥攁nd give our pianist a rest.鈥�

The show will also be an occasion to experience Pelta-Tiller playing her six-string violin鈥攁lso known as a fadolin鈥攎ade by New York-based luthier Eric Aceto, offering the depth and tone of a baroque instrument. 鈥淚t鈥檚 amazing for accompanying myself on voice and expanding my improvisational palette,鈥� she notes.

Expanding her skill-set and pushing the boundaries of creative expression have long been a hallmark of Pelta-Tiller鈥檚 approach and her connections within the College of Music have only deepened that mission, especially as it aligns with the college鈥檚 universal musician approach to fulfilling its mission.

She speaks of the work she鈥檚 done with students in her cross-genre ensemble, taking part in fiddle flash mobs and collaborating with artists like Klezmer fiddler Alicia Svigals. She speaks of  working with jazz faculty members like Gunther, Mestas and composition professor Annika Socolofsky. It鈥檚 all been part of a musical evolution that began when Pelta-Tiller played musical call-and-response games with her father as an infant.

91传媒 has been integral to that evolution and Pelta-Tiller looks forward to continuing the connection long after the upcoming Dazzle show and her time as a graduate student.

鈥淚n directing combos, my arranging and improvisation skills have been challenged,鈥� she notes. 鈥淎nd in playing with my graduate colleagues in the jazz department, some of whom are doing really far out stuff, my concept of form and my musical imagination have been stretched further than I could have conceived.鈥�

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Since 2019, the 91传媒 College of Music鈥檚 annual Persevering Legacy events have showcased works by women composers, including those from historically marginalized groups. This year鈥檚 concert and master class are no different.

Student soloists and ensembles are encouraged to select works from the 鈥攈oused in our American Music Research Center archives鈥攃omprising compositions by Black women composers.

This year, the concert will feature 11 different acts鈥攊ncluding the 91传媒 Chamber Singers led by Director of Choral Activities Coreen Duffy鈥攑resenting compositions by Connie Converse, Reena Esmail, Florence Price, B.E. Boykin and our previous Genevieve McVey Wisner lecturer Gabriela Lena Frank, among others. 

鈥淧ersevering Legacy is an opportunity for students to research composers or pieces that may be entirely new to them and then present those works, broadening their scope,鈥� says Alexis McClain, director of community support + programming, who helps facilitate Persevering Legacy. 鈥淥ur audiences also benefit, experiencing music that鈥檚 not often programmed.鈥�

Alumnus  (DMA 鈥�92, composition)鈥攕on of the late Helen Walker-Hill and Pulitzer Prize-winning composer George Walker鈥攚ill lead a master class for Persevering Legacy participants, working through the pieces they鈥檝e selected and offering his unique background, knowledge, insight and passion for the collection based on his directly personal connection.

鈥淚鈥檝e watched the collection unfold from close proximity for a number of years and love every aspect of the master class,鈥� he says. 鈥淚 love the music. I love getting in touch with the students who are discovering this music, often for the first time. And really, this keeps my mom alive for me because it鈥檚 not just my mother鈥檚 work, but a life鈥檚 work.鈥� 

Walker says playing new and largely unfamiliar pieces is helpful to students in their music careers as it allows them to apply their creativity and artistry in perhaps unexpected ways. 

鈥淲e spend most of our music education studying the guys that are the Mount Rushmore of classical music. The thing is, there鈥檚 a lot of baggage that comes with this default鈥攏ot only are you trying to nail the notes, but there are all these expectations that have been dictated by performers who preceded you,鈥� says Walker who recently released a satirical new book, 鈥�.鈥�

鈥淪o, if you鈥檝e got these underrepresented composers, not only have you found them or are championing them, but you have to make these decisions,鈥� he adds. 鈥淵ou have to develop your own internal tradition and use your creativity. It's more than you and impressing your audience that鈥檚 at stake, it's making a case for someone who could still be lost to history after you're done performing that night鈥攁nd that is a really worthy challenge.鈥�

Join us for the  on Thursday, March 6 at 7:30 p.m. and the preceding  with Gregory Walker on Tuesday, March 4 at 2 p.m., both in the Chamber Hall (S102), Imig Music Building.

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鈥淎rt is possibility, expression is potential.鈥�

That鈥檚 according to , the Pulitzer Prize-winning Din茅 composer, musician and sound installation artist slated to deliver the 91传媒 College of Music鈥檚 annual  Genevieve McVey Wisner lecture on Feb. 26. In his wide-ranging and ambitious oeuvre, Chacon鈥攁 member of the Navajo Nation who resides in Albuquerque, New Mexico鈥攈as tackled themes ranging from colonization to displacement to questions of environmental stewardship and conservation.

The myriad media he鈥檚 chosen to explore these themes reflect a spirit of creative exploration. His Pulitzer Prize-winning work, 鈥淰oiceless Mass,鈥� is an ensemble work composed specifically to be performed in any space of worship with high ceilings and pipe organ. 鈥淪ound Ladder鈥� is a sound installation鈥攄ebuted in 2024鈥攖hat features a sequence of 16 pine planks hung from ceiling to floor; for this work, Chacon collaborated with members of the B氓l Nango family, a S谩mi family of reindeer herders and land guardians.

Chacon has built instruments and explored new ways to present sound. He鈥檚 paired his compositions with visual cues and physical components, and drawn upon the very land surrounding his compositions to convey his messages.

鈥淚 think art is there to show that we can all think in different ways, we can all dream in ways we didn鈥檛 know we could,鈥� Chacon explains. 鈥淲e鈥檙e in danger when we become narrow and exclude possibilities.鈥� That philosophy is part of the lure of Chacon鈥檚 upcoming visit to Boulder. Working firsthand with students and offering novel perspectives about the possibilities of self-expression reconnects the artist to his own commitment to learning and growth; the chance to explore his work and style with developing musicians and artists holds its own unique appeal.

鈥淧art of my interest in giving lectures and visiting universities is to share my work and offer music students insights into ways that music doesn鈥檛 have to be on the stage,鈥� Chacon says, also reflecting the College of Music鈥檚 universal musician approach to achieving our mission. 鈥淚t can be presented in different media鈥攑erformance art, sound sculpture, as film or video. I am really interested in sharing my different tactics with students.鈥�

The concept of place plays a large role in Chacon鈥檚 work and one of the pieces he鈥檒l detail in his lecture is located in the United Arab Emirates in a 鈥済host village鈥� that was originally assigned to a tribe of nomads by the government. 鈥淏eing that they鈥檙e nomadic people, they did not move in. These houses are being taken by the desert,鈥� Chacon explains. 

鈥淚鈥檝e collaborated with these individuals and musicians to record their songs,鈥� he adds, noting that the ultimate effect of the installation is that 鈥渋t sounds like their music is moving through these houses and into the desert.鈥�

It鈥檚 an immediacy that Chacon stresses in his approach to music. While he鈥檚 a classically trained composer and musician, he鈥檚 careful not to undervalue the importance of the indefinable elements of the art form鈥攖he aspects of music that can鈥檛 necessarily be conveyed in a classroom, studio or textbook.

鈥淚 do feel like I鈥檓 continually learning,鈥� says Chacon . I鈥檓 always seeking out the best media that an artwork should take. I鈥檓 constantly researching new technologies鈥攅xperiencing exhibitions, artists and concerts. 

鈥淚鈥檓 still a big fan of being able to see musicians play, even more so than listening to recordings. I think live music is not only an obligation or responsibility, but it鈥檚 something that is wonderful to do, as a member of an audience.鈥�

Even as he tackles weighty questions in his work, Chacon also finds power and joy in the ability to create鈥攁 boon he looks forward to sharing during his residency. 鈥淣o matter what our occupation or how we spend our daily lives, we should be conscious of the work we can do to improve upon justice and the way we treat each other.鈥�
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Join us for the College of Music鈥檚 annual Genevieve McVey Wisner Lectureship* featuring Raven Chacon on Feb. 26 at 11:30 a.m., Chamber Hall (S102), Imig Music Building. On Feb. 27 at 9:30 a.m., Room NB185, Imig Music Building, Chacon will be part of a panel discussion, 鈥淪ituating your soul鈥檚 work in a hegemonic sphere.鈥� Both events are free and open to the public. 

Raven Chacon鈥檚 residency is made possible by the 91传媒 American Music Research Center, the College of Music鈥檚 composition department and the college鈥檚 Diverse Musicians鈥� Alliance. 

*Having graduated from Western University in Kansas鈥攁n historically Black college鈥攚ith her first bachelor鈥檚 degree in 1922, Genevieve McVey Wisner became the first Black graduate of the College of Music in 1940 with a bachelor鈥檚 degree in music education, followed by a master鈥檚 degree in 1944 at age 42.

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Photo: Internationally acclaimed clarinetist Mariam Adam headlines Colorado Clarinet Day 2025.

It seemed like a nice idea, recalls Professor of Clarinet Daniel Silver: Let鈥檚 gather together the clarinet programs at Colorado鈥檚 four major Front Range university music departments and create a day celebrating the clarinet with workshops, exhibits, a lecture, maybe a concert or two and a master class with a guest artist. Let's call it Colorado Clarinet Day.

That was 15 years ago鈥攁nd it's been going strong ever since. On Jan. 19, 2025, Colorado Clarinet Day returns to the 91传媒 College of Music.

鈥淭here鈥檚 always been camaraderie among us,鈥� notes Silver, referring to his counterparts at Colorado State University, the University of Northern Colorado and the University of Denver鈥檚 Lamont School of Music. The clarinet departments agreed to each hold a Clarinet Day annually, with the locale rotating, so that each campus would host every four years; thus, it falls on 91传媒 to welcome clarinet lovers to our Imig Music Building next month.

Every Colorado Clarinet Day is different, Silver points out. 鈥淓ach host puts their own stamp on it.鈥�

The upcoming Clarinet Day will begin with a morning recital by Colorado players (with guests from Wyoming), followed by Silver's talk on practicing techniques. An afternoon concert by the Ambler Clarinet Choir will be followed by a free evening recital featuring guest clarinetist 鈥攚ith Suyeon Kim, associate teaching professor, collaborative piano鈥攁t 6:45 p.m. in Grusin Music Hall.

Silver notes the significance of Adam鈥檚 presence. A founding member of Imani Winds and a sought-after international soloist, she represents more than a superior interpreter of the clarinet: 鈥淪he鈥檚 a woman of color and鈥攇oing back 30 years鈥攖here haven鈥檛 been many like her in the music world. We need more like her, shining a light on (musicians) who are not white males.鈥�

Referencing the College of Music鈥檚 universal musician approach to achieving its mission, he adds: 鈥淲e鈥檙e seeing a reflection of that here, where we鈥檝e taken steps to increase the diversity of our people.鈥�

Recalling the first Clarinet Day, Silver points out: 鈥淲e had about 60 attendees. Now, each event attracts around 200.鈥� So, who are all those clarinet lovers? Students, alumni, educators and performers, as well as exhibitors鈥攆rom Brad Behn and Brandon Chambers to the Flesher-Hinton Music Company, Mark Sloss Professional Wind Instrument Consultants and Vandoren | Dansr.

Lastly, Silver highlighted another important category of attendees: 鈥淎udiences who just want to hear good music.鈥�

We thank all participating staff, faculty, and guest artists and teachers; and we thank the Roser Visiting Artists Program, the 91传媒 Center for Humanities & the Arts and Conn-Selmer for their support of Colorado Clarinet Day.

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Harumi Rhodes has mixed feelings about observing The Milestone. As second violinist of the world-renowned, Grammy Award-winning Tak谩cs Quartet, she understands the significance of the group鈥檚 founding a half-century ago. 

鈥淚t鈥檚 a monumental moment and we鈥檙e approaching it with a sense of awe,鈥� she admits. 鈥淚 feel humbled. Yet, in another sense, for us it鈥檚 business as usual.鈥� Much of that business takes place right here in Boulder.

Joining Rhodes in conversation is first violinist Ed Dusinberre, who鈥檚 also her husband. The English-born musician reflects on the group鈥檚 remarkable musical journey filled with loss, personnel changes and鈥攎ost of all鈥攂rilliant music making.

鈥淚 find myself thinking about all our former quartet members鈥攚e wouldn鈥檛 be celebrating this milestone today except for them,鈥� says Dusinberre, recalling that the original quartet was formed by students at the Music Academy in Budapest, Hungary, in 1975. 

鈥淭hey were so young, living behind the Iron Curtain, wondering how they could fulfill their musical aspirations worldwide,鈥� he adds.

Hard work and winning prestigious awards in several European competitions led to an American tour in 1982 and鈥攆ollowing several U.S.-based short-term residencies鈥攖he decision to permanently relocate their families to the United States in 1985-86. Soon after, the players accepted an invitation to become the resident quartet at the University of Colorado Boulder鈥攁nd they鈥檝e resided here ever since, though not without challenges. G谩bor Tak谩cs-Nagy stepped down in 1993 and now enjoys a successful career as a conductor and teacher worldwide. The following year, violist G谩bor Ormai was diagnosed with cancer and retired, passing away in 1995. The late Roger Tapping succeeded him, leaving to spend time with his family in 2005; in turn, he was succeeded by Geraldine Walther. Upon the retirement of founding second violinist K谩roly Schranz, Harumi Rhodes joined the quartet in 2018. 

As the first new member in 1993, Dusinberre recalls the challenge of being a non-Hungarian. 鈥淚t was a big adjustment for me, but I appreciated the welcoming, adventurous spirit of the players and the warmth of their collective sound,鈥� he says. 鈥淭he process was similar when Harumi and then Richard joined鈥濃€攔eferring to current violist Richard O鈥橬eill who succeeded Walther in 2020. Grammy-Award winner for Best Classical Instrumental Solo Performance in 2021, O鈥橬eill is only the second person to receive an award for a viola performance in the history of this category. 

Today, cellist Andr谩s Fej茅r remains the sole original member of the Tak谩cs Quartet.

For Rhodes, becoming a member of the Tak谩cs was thrilling. 鈥淭he College of Music is a musical home for us. We feel grateful to be embedded in this university and the community.鈥�

Although the Tak谩cs maintain an international touring schedule that takes up about half of their time, the foursome prioritizes time with their students, working in partnership with Meta Weiss, the College of Music鈥檚 chamber music coordinator.

It may surprise some audience members who鈥檝e been regulars at sold-out Tak谩cs Quartet concerts to learn that the group鈥檚 campus connection extends beyond Grusin Music Hall. As Dusinberre notes, their decades-long residency is centered around daily hands-on work with College of Music students.

鈥淥ur relationship with the college is the glue that keeps us together,鈥� he stresses. 鈥淥ur graduate string quartet program inspires us to think about future generations.鈥� This two-year program consists of intense work with a promising ensemble, preparing and guiding the young artists into the demanding world of quartet playing.

鈥淭he newest quartet we鈥檙e working with is the Michigan-based ,鈥� adds Rhodes. 鈥淲e鈥檒l listen to their interests and help them to develop a unique musical voice.鈥�

The College of Music鈥檚 chamber music program has a long track record of success. The Brisbane, Australia-based is a good example: Via email, first violinist Daniel Kowalik shared that his group met the Tak谩cs at a music festival in Sydney in 2011鈥攁t that time, the Orava had been together for five years. They soon came to 91传媒 to study with the Tak谩cs.

鈥淲e always worked with one member at a time,鈥� wrote Kowalik. 鈥淭hey rotated, so we had time with each member. I asked lots of questions, from general well-being to dealing with the pressures of performing.鈥�

Today, the Orava Quartet enjoys an active schedule and has been signed by Deutsche Grammophon. Their Boulder experience 鈥渞eally helped launch us into having a career,鈥� Kowalik noted. 鈥淥ur coachings were invaluable and absolutely essential to learning the craft. Being mentored by the Tak谩cs forever changed how I think about and approach music making.鈥�

For many students at the College of Music, a career as a performer isn鈥檛 their only goal鈥攁nd the Tak谩cs Quartet is sensitive to that, too. 鈥淚t鈥檚 only partly about making music,鈥� Rhodes emphasizes. 鈥淢uch of what we focus on when we鈥檙e talking with students has to do with how to make a life in music.鈥� 

Dusinberre treasures those conversations. 鈥淚 ask students to identify individual favorite moments in a piece and we explore different ways to heighten those moments. Hopefully they learn about each others鈥� musical tastes and how to use their individual ideas to shape a unified interpretation.鈥� 

When touring and recording sessions wind down, these beloved artists find a special joy in coming home to Boulder, visiting with faculty colleagues, and sharing their knowledge and experience with students. As Rhodes says, 鈥淭he gritty and beautiful work of a string quartet happens offstage in the rehearsal room. We feel so grateful that鈥攁fter many decades鈥攖his process continues in our home at 91传媒.鈥�

The Tak谩cs Quartet鈥檚 50^th anniversary season is generously sponsored by Barbara and Chris Christoffersen.

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Betancourt鈥攁 native of Venezuela and an accomplished classical guitarist鈥攚ill continue to serve as director at Macky which welcomes more than 100,000 people to over 100 events every season. He says adding the beloved series to the venue鈥檚 portfolio has the potential to turn over a new page for both.

鈥淭he Artist Series has been evolving for decades with an unparalleled cultural impact,鈥� he says. 鈥淗aving the Artist Series within Macky鈥檚 portfolio helps the venue to be a presenter as much as a facility for rent.鈥�

Betancourt says the Artist Series will continue to delight long-time patrons as it also seeks to expand and diversify its programming.

鈥淭he series will still include dance, classical music, jazz, performing arts from all over the world, as well as new genres. Keeping true to its well-established mission while feeling the cultural pulse in Boulder will help determine its evolution,鈥� he says. 鈥淭here will be wonderful choices for our legacy and new audiences to enjoy.鈥�

When CU Presents Executive Director Joan Braun retired at the end of June after 30 years, it was determined that it made sense to separate the curation of the Artist Series from the operations of CU Presents. Braun and 91传媒 College of Music Dean John Davis recommended Betancourt to be the Artist Series director as the most natural choice.

鈥淩udy is an excellent, accomplished musician and he has impeccable taste and awareness of the music scene,鈥� Braun says. 鈥淎s director of Macky, he also is very aware of audience tastes and preferences, and what they respond to. He can see some different pathways and possibilities and I鈥檓 excited to see what he does with it.鈥�

鈥淛oan鈥檚 legacy of innovation in the arts and securing the Artist Series鈥� place in the hearts of its audiences is a tall order鈥攐ne that I am honored to continue. I am excited to work with the College of Music鈥檚 leadership and the Artist Series Advisory Board. It is a real privilege,鈥� Betancourt says.

Betancourt will continue to work closely with the staff at CU Presents. 鈥淭he CU Presents team brings unparalleled knowledge of how to reach our audiences and cultivate our relationship with them,鈥� he says. 鈥淐ontinuing and deepening this collaboration will be paramount to the success of the series.鈥�

CU Presents will continue to work with other as well as with the and .

Tickets for the are on sale now.

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Overseeing CU Presents requires administrative skill, a steady hand and a cool head. Just consider the competition Metzroth had to contend with after longtime director Joan Braun retired at the end of last season.

鈥淚鈥檓 happy that the College of Music conducted a national search,鈥� says Metzroth. 鈥淚 think there were about three dozen applicants.鈥� But one look at his r茅sum茅 and it鈥檚 not surprising that Metzroth landed the position. For starters, his years of experience in nearly every aspect of the theater鈥攂ackstage, onstage, above-stage, you name it鈥攊s mind-boggling. As his local credits will attest, he鈥檚 been everywhere at CU Presents for decades. Plus, his enthusiasm is contagious.

鈥淚鈥檝e always had a love for the theater,鈥� he says. As for his relationship with 91传媒, he became box office manager in 2007, handling ticketing for campus performing arts events for nine years. That鈥檚 no small task, he emphasizes: 鈥淭he ticketing software [Tessitura] goes incredibly deep, and takes a long time to learn and teach.鈥� Moving further up the ladder, he became director of operations at CU Presents in 2017. 

Today, Metzroth鈥檚 responsibilities entail close involvement in managing the Artist Series in Macky Auditorium and Tak谩cs Quartet concerts in Grusin Music Hall. But there are more shows to handle鈥攁 lot more. 鈥淭here are some 450 on-campus events including about 350 College of Music events, 50 Theatre & Dance Department events and 50 Colorado Shakespeare Festival performances,鈥� he explains. 鈥淚鈥檒l be involved in strategy, ticketing, and marketing and communications for all our series, particularly College of Music events. You have to know what鈥檚 important to all of them, to know their goals.鈥�

Not that he intends to remain invisible. 鈥淚 never want this to be a desk job,鈥� stresses the four-time 91传媒 alumnus. 鈥淚 see myself as a community ambassador鈥擨 want to bring audiences into performing arts experiences.鈥�

In previous years, you could usually find Metzroth behind a box office window handling ticket sales. With a laugh, he says those days may not be entirely behind him. 鈥淵eah, I might have to work there some nights, if we鈥檙e short-staffed.鈥�

But as long as there鈥檚 a show going on, CU Presents鈥� new executive director is happy. 鈥淲e鈥檙e performance- and outreach-oriented,鈥� he adds. 鈥淎n example of upcoming outreach opportunities are student matinees of [Engelbert Humperdinck鈥檚] 鈥樷€� in October. We鈥檒l be bringing in students from kindergarten through second grade. That will take some coordinating with a number of schools.鈥�

Sounds like a lot of work for 鈥淢etz鈥濃€攂ut it鈥檚 a good bet he鈥檒l be as excited as all those kids when the school buses arrive.

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Last summer, the College of Music and  (SPA) kicked off a new partnership to welcome 22 talented string students鈥攁ges 11-17鈥攖o our campus for an intensive scholarship program emphasizing cultural diversity. 

This month, June 20-30, it鈥檚 d茅j芒 vu as auditioned youths engage in lessons, master classes and performances with their instructors and guest teachers鈥攁ll under the auspices of the Sphinx Organization and thanks to a DEI Impact Grant from the 91传媒 Office of the Senior Vice Chancellor for Diversity, Equity and Inclusion.

That鈥檚 a lot to plan and implement. Yet for Alex Gonzalez鈥攔eturning SPA faculty member and College of Music assistant professor of violin鈥攊t鈥檚 all a joy. 鈥淚t鈥檚 wonderful to see how the SPA gives the kids space to grow, presenting them options as they pursue music,鈥� he says.

In between, Gonzalez explains, the students do more than improve their skills on violin, viola, cello and bass: 鈥淔or example, Jim Brody, who runs the College of Music鈥檚 wellness program, instructed them in healthy playing habits. It鈥檚 so important for them to learn how to prevent injury and avoid poor practice positions.鈥� Gonzalez also notes a master class by violinist Andrea Segar who鈥檒l join the College of Music faculty as assistant professor of violin this fall. 

Success stories are many. Among the 22 students who鈥檝e flown in from around the country, a few are returning from last summer鈥檚 inaugural SPA on our campus; and, according to Gonzalez, three students from the first cohort have applied for admission to 91传媒 and were accepted鈥攊ncluding SPA alum Ryannah Blackman who will join Gonzalez鈥檚 violin studio as a freshman performance major this fall. 鈥淪he told me, 鈥楾he SPA made me want to settle here,鈥欌€� he says. 

A member of the Sphinx Virtuosi where he鈥檚 concertmaster, touring extensively with the group across the country and abroad, Gonzalez understands first-hand that the road to success in music isn鈥檛 without its challenges. But programs like the Detroit-based Sphinx Organization, established in 1997 to focus on 鈥渋ncreasing representation of Black and Latinx artists in classical music,鈥� have done much to ease and advance that journey.

Intense teaching and motivation are valuable, of course, but the SPA provides something else, Gonzales discovered: 鈥淭here鈥檚 a sense of community here, friendships have developed,鈥� he says. 鈥淭hese kids are sharing their love of music, of being together. I think it lifts them up. 

鈥淭hey鈥檝e worked hard but they got Sundays off, so they went on field trips. They went to the Pearl Street Mall and they took hikes. They got to see Boulder.鈥� 

See you next year, SPA!

SPA faculty and students will perform in Grusin Music Hall tonight and this weekend.

Photos: Kathryn Bistodeau, Sphinx Organization

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