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2020-21 Season Digital program
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The future, faster
Performance program
CU Presents Digital
Your support matters
CU Presents personnel
is the home of performing arts at the University of Colorado Boulder.
The mission of the University of Colorado Boulder College of Music is
to inspire artistry and discovery, together.
As we gather, we honor and acknowledge that the University of Colorado’s four campuses are on the
traditional territories and ancestral homelands of the Cheyenne, Arapaho, Ute, Apache, Comanche,
Kiowa, Lakota, Pueblo and Shoshone Nations. Further, we acknowledge the 48 contemporary tribal
nations historically tied to the lands that comprise what is now called Colorado.
Acknowledging that we live in the homelands of Indigenous peoples recognizes the original stewards of
these lands and their legacies. With this land acknowledgment, we celebrate the many contributions of
Native peoples to the fields of medicine, mathematics, government and military service, arts, literature,
engineering and more. We also recognize the sophisticated and intricate knowledge systems Indigenous
peoples have developed in relationship to their lands.
We recognize and affirm the ties these nations have to their traditional homelands and the many
Indigenous people who thrive in this place, alive and strong. We also acknowledge the painful history of ill
treatment and forced removal that has had a profoundly negative impact on Native nations.
We respect the many diverse Indigenous peoples still connected to this land. We honor them and thank
the Indigenous ancestors of this place. The University of Colorado pledges to provide educational
opportunities for Native students, faculty and staff and advance our mission to understand the history
and contemporary lives of Native peoples.
CU Opera alumna Claire Mccahan and
instructor Jeremy Reger demonstrate
proper COVID-19 protocols during
rehearsals and coaching, 2020.
The future, faster
By Sabine Kortals Stein
Spring semester is fully underway as we continue
our commitment to being a COVID-aware college
and campus.
According to John Davis, who was appointed the
College of Music’s new dean as of the first of the
year, “While these are uncertain times and the future
seems equally uncertain, COVID-19 has pushed
us to leverage technologies in impactful ways that
will surely outlast this pandemic—through distance
learning, collaboration and performing, we’ve risen
to the challenge.
3 2020-21 Season CU COLLEGE OF MUSIC
“We’re not only expanding the reach and range of what’s possible as artists and performers, we’re also adding to our students’ skill sets, and paving the way toward greater diversity, equity and inclusion (DEI) in everything we do. “Put another way, COVID-19 has accelerated our momentum to leverage various technologies in ways that elevate College of Music offerings. Despite a challenging environment, the college’s continued level of excellence—and evolving, newly emerging academic activities and performance platforms— make me incredibly proud.” In a recent Q&A, Dean Davis shared his own musical journey, including these excerpts: When did you first consider music as a career for yourself? By the time I was in high school. My bachelor’s degree is in music education, from Metropolitan State University here in Colorado. At the University of Denver, I earned a Master of Arts degree in performance. Beginning in my 20s, I played with classical, jazz and commercial groups, and performed with or for some amazing musicians. 4 2020-21 Season CU COLLEGE OF MUSIC
After performing for a few years, you joined the military. Why? I didn’t like school in my 20s, and I thought I didn’t want to be a teacher. I decided to join the Army at what would be viewed as the lowest level of expertise needed, the infantry. I spent two years in the army during my initial enlistment, 12 months of which was spent in South Korea. When Desert Storm—The Gulf War—began in 1991, my reserve unit was activated and we were sent overseas to Germany for four months. Toward the end of my time in Korea—during the monsoon season, when the infantry would have to fill sandbags with mud and rebuild walls and bridges when the rain would wash them out—I realized that, unlike many of my fellow soldiers, I didn’t have to do this for a living. And I realized that the difference between me and most of them was education. What was your next move? I got fired up and committed from that day forward to education—opening people’s eyes to what’s out there for them. Knowing that I wanted to teach at a university level, the shortest path to get there was for me to return to trumpet and jazz and receive a doctoral degree. 5 2020-21 Season CU COLLEGE OF MUSIC
You left full-time teaching in 2011 to be an administrator. Why? I love doing what I can to support the success of others. As an administrator, you’re able to see a “bigger picture” and have the opportunity to make an impact that benefits so many others. The challenge is great, but the satisfaction of helping our students and faculty succeed is enormously rewarding. What excites you about leading the College of Music? The college has been fortunate to have great leadership over many years. Supporters of the college are among the most passionate and caring people I have known. And the students, faculty and staff are truly outstanding. At the same time, all of us realize there is even more we can accomplish toward the betterment of society through music. Enjoy Jessie Bauters’ complete interview with Dean Davis here. 6 2020-21 Season CU COLLEGE OF MUSIC
DMA Project: Voice Recital Raul Dominguez, tenor With: Hsiao-Ling Lin, piano Alan Chan, violin Dilon Bryan, horn 7:30 p.m., Thursday, April 15, 2021 El de Pedro solamente Manuel de Zumaya (c. 1678-1755) Alan Chan, violin Cantada: Como aunque culpa Manuel de Zumaya I. Recitative: Como aunque culpa II. Aria: O feliz culpa nuestra Alan Chan, violin Cantada: Oh muro, más que humano Manuel de Zumaya I. Recitative: Oh muro, más que humano II. Estribillo: Pedro celeste muro III. Recitative: En la segunda basa firme admire IV. Coplas: La piedra soberana Alan Chan, violin C-1 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSIC
—Pause— Serenade Benjamin Britten (1913-1976) I. Prologue II. Pastoral III. Nocturne IV. Elegy VII. Sonnet VIII. Epilogue Dilon Bryan, horn —Pause— Mucho, Mucho María Grever (1885-1951) Cuando Vuelva a Tu Lado María Grever Júrame María Grever C-2 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSIC
Introduction On this evening’s music: This evening I present repertoire from my research into Mexican music and a song cycle by my favorite composer, Benjamin Britten. During my masters at Ithaca College, my work with Dr. Janet Galván inspired me to begin research into the choral music of the United Mexican States. Using grant funds, I traveled around the USA to catalogue collections of Mexican choral music into an annotated bibliography. During my travels, I encountered the collection, Cantadas y Villancicos de Manuel de Suamaya edited by Aurelio Tello. Not only did this collection hold choral works, it also held several sacred solos and cantadas, including the ones programmed this evening, for voice, strings, and continuo. Benjamin Britten’s song cycle, Serenade, has been on my wish list to perform since 2012. Britten’s choral music is profoundly honest and his compositions for solo voice are equally as honest with a great number of clandestine topics. While my research interest is not focused around Britten, I have conducted several of his works including several movements of his Ceremony of Carols with the Clear Lake High School Choirs and his Missa Brevis in D with the Ithaca College Treble Chorale. The final set this evening comes back to Mexican music. I became familiar with María Grever’s works during my research; as stated below, she is the first well-known female composer from the United Mexican States. The three works presented this evening are arguably her most well known works for solo voice. While she did not compose for choral ensembles, I did arrange her solo tune, Tipitin for SATB and SSAA choruses for my Ithaca masters conducting recital. I am grateful for the opportunity to lift up María’s music. A thousand “Thank you’s” and more to the talented musicians who made this evening possible: Professor Jennifer Bird- Arvidsson, Dr. Hsiao-Ling Lin, Alan Chan, and Dilon Bryan. C-3 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSIC
Program Notes & Translations El de Pedro solamente The compositional language of Manuel de Zumaya is far more active than the colonial Mexican composers who came before him. Unlike early Mexican compositional conservatism, his concerted Baroque style uses spirited motives, instrumental figuration, and swift harmonic motion. His sacred solo, El de Pedro solamente, for voice, strings, and continuo, uses two sections marked “Estribillo” (refrains) and “Coplas” (verses) to depict a moment where Jesus tested St. Peter. Translation Estribillo El de Pedro Solamente, That of Peter only se ha de llamar fino amor, should be called fine love, y con razón, y con razón, and rightly, rightly so, porque lo ignoran los labios because his lips ignore, y lo sabe el corazón. and the heart knows. Coplas Si le ama más quelos Otros “If he loves him more than the preguntó Jesus a Pedro, others,” Jesus asked Peter, “and y el su voluntad no solo did not test his will alone but probó mas su entendimiento. also his understanding.” Ni si, ni no, respondió Nor yes, nor no, answered con tan político esmero, with such (political) effort, que con él supo afianzar that he managed to en lo amante lo discreto. meld into loving the discreet. C-4 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSIC
Si dijera Si, quedaba If Peter said “yes,” there would be con la nota de grosero, a hint of rudeness in his answer, y la presumpsión de fino for the presumption would be, desayraba lo modesto. that he is not modest. Si dijera No faltaba If Peter said “no,” la obligación a su empleo, to the duty of his faith, y en confesar lo ponía he would confess with an lo ingrato con tinte en necio. ungrateful tinge of foolishness. Tú lo sabes, Señor, dice, “You know Lord,” Peter says, en que se ve cuan intenso “your love is intense, es su amor; pues su medida, and its measured solo es de Dios el concepto. alone by God’s greatness.” Como aunque culpa Zumaya labels “Como aunque culpa” as a solo cantada for voice, strings, and continuo. His recitative and da capo aria setting tells a story about our redeemer, Jesus, triumphing over the guilt humanity bears for their sins. Translation I. Recitative Como aunque culpa Everyone bore the guilt of Adam’s todos no tuvieron, mistake. The animals, trees, birds, en el error de Adan, bullies, and crystals; and los Animales troncos, paxaros, nevertheless, they felt the terrifying Brutos y cristales; sins they feared that this damage y no obstante sintieron, will be repaired by the man they el orroroso crimen que temieron: will pretend to praise. Oy, que este daño viene a repararse con el hombre pretenden alegrarse. C-5 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSIC
II. Aria
O feliz culpa nuestra, Oh happy is our guilt
que tanto Redemptor, for our Redeemer
logra triunfante. triumphs over it.
Con tal fineza muestra, With finesse, He shows
que le obligó a nacer, He had to be born
vivir y padecer, to live and suffer
el Ser amante. the loving God.
Oh muro, más que humano
This is another solo cantada that incorporates recitatives between his
estribillos and coplas. Here, Zumaya tells us about the bejeweled heavenly
gate where St. Peter stands and enjoys everlasting life.
Translation
I. Recitative
Oh muro más que humano Oh, gate more than human,
en virtudes excelsas peregrino pilgrim in sublime virtues,
gózate en ese alcázar soberano rejoice in that sovereign fortress
en donde tiras gajes de divino: from where you throw divine
tokens:
A tu bien inmortal de mal ajeno To your immortal good of woes
las piedras con sus cantos forman foreign, the stones with their songs
tono, a tí gran Padre que de form, tone to you, great Father
glorias lleno, por muro celestial that of glories full, through
logras el trono heavenly wall achieve the throne.
II. Estribillos
Pedro celeste muro Peter’s celestial gate,
Gloria sin par obtains unparalleled glory
de aquella celestial Jerusalén from that heavenly Jerusalem.
C-6 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSICDonde engolfado Where, engulfed in delights he
en dichas ve es su gozar sees, it is his joy
por una eternidad del sumo bien for an eternity of the ultimate good.
III. Recitative
En la segunda basa firme admiro In the second firm base I admire
el que muro celeste fiel se afianza the one that braces faithful like
con raros esplendores del zafiro celestial gate, with rare splendors
y las estrellas dicen su bonanza, of sapphire. And the stars tell of
pues al sol sigue Pedro giro a giro his bounty, since the sun Peter
como principio y fin follows turn by turn like the
de su esperanza. beginning and end of his hope.
IV. Coplas
La piedra soberana que hoy The sovereign stone that today
aplaudimos, en su segundo we applaud in its second mount is
engarce es el zafiro: the sapphire:
Ya Pedro es claro, Already Peter is clear that it is his
que le toca pues bebe, turn, since he drinks
del sol los rayos. from the sun’s rays.
Dicho amante le sigue hasta la Said lover follows him to death:
muerte: porque solo su vida de since only his life from seeing him
verle pende: y así lo vemos depends: And so we see him
invertir su martirio mirando al cielo. reverse his martyrdom by looking
at the heavens.
En el ocaso vive aunque allí muere: In the sunset he lives, although
porque queda gozando al sol de there he dies: because he remains
oriente: y porque Roma enjoying the eastern sun:
tuviese en este triunfo, and because Rome
muchas coronas. could have had in this triumph
many crowns.
C-7 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSICGózate, Pedro excelso siglos Rejoice, excellent Peter in flamantes donde el tiempo se resplendent centuries cuenta a eternidades: desde ese where time is counted in eternities: orbe benignas nos concede from that orb, benign they grant us sus bendiciones. their blessings. Eres diamante firme piedras You are a firm diamond, Esmeralda, zafiro de los cielos, de emerald stones, heavenly sapphire, jaspe basa: rubí en incendios rubies on burning fires, ya que estoy más se dice since I am here, more is said con decir Pedro. by saying “Peter.” Serenade Benjamin Britten’s 31st opus is a song cycle for tenor, horn, and strings. He composed the cycle at the request of horn player Dennis Brain during WWII; the tenor part was written for his lifelong partner, Peter Pears. The general subject of each movement is “night.” The texts come from five English poets (Charles Cotton, Alfred Lord Tennyson, William Blake, Ben Jonson, and John Keats) and one anonymous poet. The interior movements with voice are flanked by a “Prologue” and “Epilogue” for unaccompanied horn. Britten’s cycle elevates the “echo” heard after a horn call, to a compositional technique. The entire cycle is an echo of itself; an echo’s basic elements pervade the work. The horn’s music in the “Prologue” is literally repeated in the “Epilogue,” played backstage. The “Pastoral,” “Nocturne,” and “Hymn” movements show Britten’s ability to compose in harmonic cycles where the melodic contour remains the same (or echoes throughout the piece) while the harmonic world around the melodic line changes. In “Elegy,” Britten opens with a horn solo that is repeated after a brief recitative and his “Dirge” is a strophic movement that stays in the same key. “Sonnet” utilizes a repeated chord progression while harmonically cycling the tenor line. The strings and tenor are in constant metric dissonance; the tenor’s metrical grid feels like an echo of the accompaniment’s metric grid. This evening, we present six of Britten’s eight movements. C-8 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSIC
I. Prologue A world of exploration into the “echo” begins as the horn sounds its initial call. The unaccompanied horn call will be echoed at the end of the cycle; for now, imagine as if we visit the world between the original call and its echo as we move into the movements for voice, horn, and strings (piano). II. Pastoral Britten’s “Pastoral” sets an excerpt from Charles Cotton’s “The Evening Quatrains” in an AABA’ form. As the day comes to a close, the setting sun casts a shadow over the land making mole-hills look like mountains and ants appear as elephants. A young man, or stripling, follows them whose shadow appears like a Ploypheme, a one-eyed giant in Greek mythology. As the sun, which is likened to Phoebus, the Greek god of light, dips in the west, the world can begin to rest in the cool air. The Day's grown old, the fainting Sun Has but a little way to run, And yet his Steeds, with all his skill, Scarce lug the Chariot down the Hill. The Shadows now so long do grow, That Brambles like tall Cedars show, Mole-hills seem Mountains, and the Ant Appears a monstrous Elephant. A very little, little Flock Shades thrice the ground that it would stock; Whilst the small Stripling following them, Appears a mighty Polypheme. And now on Benches all are sat In the cool Air to sit and chat, Till Phoebus, dipping in the West, Shall lead the World the way to Rest. C-9 CU PRESENTS 2020-21 Season CU COLLEGE OF MUSIC
III. Nocturne In comparing an expiring echo to the coming of nightfall, we come to Britten’s “Nocturne” which features an excerpt from Alfred Lord Tennyson’s, “The Princess.” This movement is in ABA’ form; after each section there is an extended cadenza section where the voice and horn echo back their musical material. Echoes can also be heard in the similar vowel and consonant schemes throughout the poem. The splendor falls on castle walls And snow summits old in story; The long light shakes across the lakes, And the wild cataracts leaps in glory. Blow, bugle, blow, set the wild echoes flying, Blow, bugle; answer, echoes, dying, dying, dying. O, hark, O, hear! how thin and clear, And thinner, clearer, farther going! O, sweet and far from cliff and scar The horns of Elfland faintly blowing! Blow, let us hear the purple glens replying, Blow, bugles; answer, echoes, dying, dying, dying. O love, they die in yon rich sky, They faint on hill or field or river; Our echoes roll from soul to soul, And grow forever and forever. Blow, bugle, blow, set the wild echoes flying, And answer, echoes, answer, dying, dying, dying. C-10 CU PRESENTS 2020-21 Season CU COLLEGE
IV. Elegy William Blake’s “The Sick Rose” is the subject of Britten’s “Elegy.” The poetry occurs between echoed horn solos that repeat the same motive in extreme ranges. Blake’s text is set as a recitative; with its references to a sick rose, a worm that flies in the night, and a dark secret love that destroys life, this poem alludes to syphilis. According to a study done by the University of Cambridge in 2020, during Blake’s lifetime in London one in five Londoners would have contracted syphilis by their mid-30’s. The symptoms of the disease were far worse at night (“the invisible worm that flies in the night”). Those who had syphilis were stigmatized as promiscuous (“crimson joy,” “dark secret love”). These individuals would eventually lose their life to the disease (“does thy life destroy”) as a cure would not found until the mid-1900’s. O Rose thou art sick. The invisible worm, That flies in the night In the howling storm: Has found out thy bed Of crimson joy: And his dark secret love Does thy life destroy. VII. Sonnet The through-composed “Sonnet” uses John Keats’s poem, “To Sleep.” His narrator continuously pleads for sleep to over take him. The reference to the casket of the soul could also symbolize the longing for “death” instead of sleep. To see this from Britten’s perspective, who struggled with pedophilia, one could read this as the desire for peace or purity to rid himself of this desire (“Save me from curious conscience, that still lords its strength for darkness, burrowing like a mole”). O soft embalmer of the still midnight! Shutting with careful fingers and benign Our gloom-pleased eyes, embower’d from the light, Enshaded in forgetfulness divine; O soothest Sleep! if so it please thee, close, In midst of this thine hymn, my willing eyes, C-11 CU PRESENTS 2020-21 Season CU COLLEGE
Or wait the amen, ere thy poppy throws Around my bed its lulling charities; Then save me, or the passèd day will shine Upon my pillow, breeding many woes; Save me from curious conscience, that still lords Its strength for darkness, burrowing like a mole; Turn the key deftly in the oilèd wards, And seal the hushèd casket of my soul. VIII. Epilogue As we exit the world heard after the initial horn call, the echo of the horn call is heard from backstage. The idea of an echo is profound; it is what we leave behind. To quote Tennyson’s poem, “Our echoes roll from soul to soul.” While we live, we have the opportunity to impact the lives around us, good or bad. Those impressions, however profound, live on as our echo after we are gone. C-12 CU PRESENTS 2020-21 Season CU COLLEGE
Mucho, Mucho María Grever (María Joaquina de La Portilla y Torres) is the first well-known female composer from the United Mexican States (UMS) who was mainly active in the USA. When she lived in Europe, she studied with Claude Debussy and Franz Lehár. When she returned to the UMS, she studied singing with her aunt, Cuca Torres. Later she married oil executive, Leo Augsto Grever, and moved to the USA. In her new home, New York City, she championed the commercial composition world at a time when men dominated it. “Mucho, Mucho” is a beguine, a dance form similar to a rhumba, from the 1930’s. It is a love song that achieved popularity when it was featured in the 1950 film, Nancy Goes to Rio under the English title, “Magic in the Moonlight.” Translation Muñequita linda, My beautiful little doll, de cabellos de oro, of golden hair, de dientes de perla, of pearl teeth labios de rubi. of ruby lips. Dime si me quieres, Tell me you want me, como yo te adoro, how I adore you, si de mi, te acuerdas, if you remember me, como yo de ti. like I do you. Y a veces escucho And sometimes I hear, un eco divino, a divine echo, que envuelto en la brisa, wrapped in the breeze, parece decir. it seems to say: Si te quiero mucho, Yes I love you very much, tanto como entonces, as much as I did then, siempre hasta morir. forever until death. C-13 CU PRESENTS 2020-21 Season CU COLLEGE
Cuando Vuelva a tu Lado Today, her 1934 tune is her most popular composition. Posthumously, Dinah Washington recorded “Cuando Vuelva a tu Lado” as “What a Diff’rence a Day Made” in 1959. Washington’s recording earned a Grammy Award in 1959 and, in 1998, it was inducted into the Grammy Hall of Fame. Since Washington’s recording, many artists have recorded Grever’s tune, including Dean Martin, Diana Ross, Aretha Franklin, and Gloria Estefan. Translation Recuerdas aquel beso Do you remember that kiss que en broma me negaste? that you teasingly denied me? se escapó de tus labios sin querer. It escaped your lips unintentionally. Asustado por ello busco abrigo Scared by it, I took shelter from En la inmensa amargura de mi ser. the immense bitterness of being. Cuando vuelva a tu lado, When I return to you no me niegues tus besos, don’t deny me your kisses que el amor que te he dado, the love I have given no podrás olvidar. you will not be able to forget. No me preguntes nada, Don’t ask me anything que nada he de explicarte, I have nothing to explain que el beso que negaste, that the kiss you denied ya no lo puedes dar. you can’t give anymore. Cuando vuelva a tu lado, When I return to you y estás sola contigo, and you are alone with me las cosas que te digo, the things I tell you no repitas jamás, por compassion, never repeat, out of compassion. une tu labio al mío, join your lips to mine y estréchame en tus brazos. and hold me in your arms. Y cuenta a los latidos, And count to the beats de nuestro corazón. of our hearts. C-14 CU PRESENTS 2020-21 Season CU COLLEGE OF
Júrame Grever’s tango, “Júrame," communicates a passionate lovesick story full of longing, yearning, and suffering. This 1926 tune, composed for and recorded by Fray José de Guadalupe Mojica, a Mexican Franciscan friar and tenor, became her first international success. Grever’s knowledge of the voice is heard here as her composition takes advantage of tenor affordances. Translation Todos dicen que es mentira que te Everyone says it is a lie that I love quiero you, porque nunca me habian visto because they’ve never seen me in enamorada. love. Yo te juro que yo misma no I swear to you, comprendo, I do not understand el porque me fascina tus miradas. why your looks fascinate me. Cuando estoy cerca de tí y estás When I am close to you and you contento are content no quisiera que de nadie te I do not want you to remember acordarás; anyone else; tengo celos hasta del pensamiento I am jealous even at the thought que pueda recordarte a otra mujer that you can be reminded of amada. another beloved. Júrame que aunque pase mucho Swear to me, that even if a long tiempo time passes no olvidarás el momento you will not forget the moment en que yo te concí. in which I knew you. Mirame, pues no hay nada más Look at me, because there is profundo, nothing deeper ni más grande en este mundo nor greater in this world que el cariño que te dí. than the affection I give to you. Bésame, con un beso enamorado, Kiss me, with a loving kiss como nadie me ha besado like no one has kissed me C-15 CU PRESENTS 2020-21 Season CU COLLEGE OF
desde el dia en que nací. since the day I was born. Quiéreme, quiéreme hasta la Love me, love me to the point of locura madness así sabrás la amargura so you too will know the bitterness que estoy sufriendo por tí. that I am suffering for you. He pasado una vida indiferente I have spent an indifferent life Sin pensar en el amor ni en la without thinking about love or caricia, caress. Porque siempre habia creido I always firmly firmemente believed Que el amor es el martirio de la that love is martyrdom for vida. life. Mas te vi y desde ese mismo But from the moment instante I saw you Comprendí que habia perdido la I knew I lost partida; the game; Y en un beso ardiente, delirante and in a fiery kiss, delirious Te entregué todo el resto de mi I gave you all the rest of my vida. life. C-16 CU PRESENTS 2020-21 Season CU COLLEGE
About the performer Raul Dominguez is a second year doctoral student at the University of Colorado Boulder. His primary research focus is the music of the United Mexican States; his first publication, Tipitin, can be found on the Lawson- Gould series through Alfred Music. Recently, he curated a virtual lecture series called the Choral Conductors Colloquium, which provided its 900+ subscribers with opportunities to learn from choral music’s finest conductors. Additionally, this is his second season as the Assistant Artistic Director of the Denver Gay Men’s Chorus. In 2019, he earned his Master of Music degree after studying with Janet Galván at Ithaca College. Prior to Ithaca he was the Choir Director at Clear Lake High School in his hometown of Houston, TX for four years. He earned his Bachelor of Music degrees in Vocal Performance and Music Education from Oklahoma City University where he studied with Randi von Ellefson and Judith Willoughby. Raul would like to thank his husband Kevin, his late father, Raul, his mother, Dolores, his brother, Rafael, and soon-to-be sister-in-law, Taylor, for their loving support. He is very grateful for his friends and conducting cohort members for their unending encouragement. He would also like to thank his voice teacher Professor Bird-Arvidsson and coach Hsiao-Ling Lin for their mentorship and expertise. To Dr. Gentry, Dr. Swanson and all of his past teachers in voice, choir, and conducting, thank you for pushing me to become who I am today. C-17 CU PRESENTS 2020-21 Season CU COLLEGE
Concert Jazz Ensemble, early 2020
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7 2020-21 Season CU COLLEGE OF MUSICA music student practices COVID-safe
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COLLEGE OF MUSIC CABINET
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2020-21 Digital Programs
March-May 2021
Editors Designer Contributors Photography
Sabine Kortals Stein Sabrina Green Jessie Bauters Glenn Asakawa
Becca Vaclavik Sabine Kortals Stein Evan Boretz
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