Strings

The musical talents of College of Music staff members, Part IV

Mariefaith Lane — Wed, 09 Sep 2026 14:28:00 +0000

The musical talents of College of Music staff members, Part IV Mariefaith Lane Wed, 09/09/2026 - 08:28

Kathryn Bistodeau

As the 2026-27 academic year gets underway, we’re pleased to share Part IV in our series highlighting our multitalented, musically-oriented staff: Meet Javier Abreu, Sabrina Green, Sabine Kortals and Kayla Pierce!

Abreu as Beppe in “Rita” (Gaetano Donizetti)
Chicago Opera Theater (2018)
Photo: Liz Lauren

Graduate Advisor + Admissions Coordinator Javier Abreu introduces prospective students to the wonderful world of the ��Ҵ�ý�ƽ�� College of Music. Along with that, he’s an advisor for master’s and artist diploma students in voice.

Working with voice students is extra close to his heart, as Abreu enjoyed a two-decade career in opera—earning multiple degrees and performances with countless ensembles.

“I was very lucky and I worked all over the world. I sang at New York City Opera, I sang in Switzerland and France and Germany. It was a crazy, amazing 20 years,” he says.

That career is especially helpful when connecting with students about their dream career trajectory. Having hands-on experience in the industry allows him to offer sage wisdom and advice.

“I love being able to provide some context and maybe some calming moments to demystify the process. Sometimes students get so overwhelmed by what it represents. And I’m like, ‘let’s just focus,’” he says. “I also love being an advisor for the singers because I’m able to give them a little idea of what happens outside of these walls.”

Abreu still finds ways to put his gifts to use—singing in local projects or concerts that pique his interest. He even lent his talents to the College of Music when, in 2023, Abreu sang the tenor solo in “Carmina Burana” as part of the biannual CU at Boettcher concert.

“I still sing, I take voice lessons and I work on projects that interest me,” he says.

“I think it’s important to keep up with the gifts that you’re given. It's part of being grateful for them.”

For Abreu, telling people about the best parts of the college is easy. He believes in the place and the people, and is more than happy to share. “My favorite part about my job is to be able to talk to people, to be able to meet new people and to sing the praises of this place because I believe in it. It’s so easy to talk about the advantages of choosing a place like this.”

If you’ve come to a show on the ��Ҵ�ý�ƽ�� campus and held a program in your hands, then you’ve appreciated the work of CU Presents Publications Manager Sabrina Green. Green creates marketing materials, both print and digital, for the College of Music, Department of Theatre & Dance and the Colorado Shakespeare Festival.

Her love for music began in the third grade during the rite-of-passage recorder unit. After switching to trombone, Green was involved with bands in high school, then went to college for a music management degree. Though a performance career wasn’t in her future, she wanted to keep music in her life in a big way.

As soon as she saw the job posting for her current position, Green knew that it was a perfect opportunity for her. Now working here for nearly a decade, her favorite part is “making things”—creating art that ends up in the world and available to the public.

“There’s something really fulfilling about seeing the work you do in a tangible end result. And just getting to be creative about the work you do,” she says. “I went to music school, but I’ve always had an affinity for art. Being able to combine those two things is what makes it a dream.”

Her background in music gives Green a unique perspective on her work on campus, as well as the resilience to roll with the punches and dig into difficult projects. With all this in mind, Green’s advice to current music students is short and sweet: “Good things come to those who wait.”

“Sometimes things don’t move as quickly as you would like them to. And sometimes your life path doesn’t look the way you envisioned it. But in the end, you will get where you need to go.”

Kortals at the piano in Weimar, Germany, while on a Robert Bosch Foundation journalism fellowship (1999-2000).
Photo: Susanne Ollmann

The ��Ҵ�ý�ƽ�� College of Music has always been a part of Assistant Dean for Communications Sabine Kortals’ story.

“I’m a Boulder native and I grew up in a music-loving family,” she says, recalling that her grandmother played guitar and piano, and sang beautifully. Her grandfather and mother played the violin, and her aunt also played the piano. “Ever since I can remember, we’d attend College of Music concerts including Faculty Tuesdays—it was very much part of my formative upbringing.”

While Kortals joined the College of Music full-time in 2021, she freelanced for CU Presents in various capacities well before then. She’s also a ��Ҵ�ý�ƽ�� alumna with a BM in piano performance, a BS in finance and an MA in journalism + mass communication.

From that broadly-based background, Kortals forged her own universal musician path: Her interests in music and journalism led her to teaching piano students of all ages, privately and at the Center for Musical Arts, while also engaged as a publicist and grant writer for local composers and ensembles. She then served as classical music critic for The Denver Post and other local, national and international media outlets before launching her own business as a communications consultant for nonprofit organizations and foundations. Her communications career ultimately led her back to ��Ҵ�ý�ƽ��.

As a musician, Kortals is a lifelong pianist—her first teacher was her Austrian grandmother, Gerda Weska, and she kept taking lessons through high school, studying with College of Music grad students and alums. As a scholarship student at ��Ҵ�ý�ƽ��, she then continued her studies with the late Professor Emerita Doris Priodonoff Lehnert. Kortals still plays regularly, and she’s passionate about participating in the arts world.

“I believe that music and all the arts are essential to what it means to be human,” she says. “In my current role, sharing and amplifying the stories, influences and impacts of our students, alumni, faculty, staff and supporters is deeply gratifying.”

Scheduling Manager Kayla Pierce handles the overwhelming job of scheduling events in the Imig Music Building with ease—in part because of her background scheduling much larger feats.

“I taught high school orchestra and guitar for almost seven years. I planned all of our concerts, rehearsals, trips and everything regarding those logistics on a large scale for 500-plus students,” she says. “When I left teaching, I went into a music traveling company that worked with bands, orchestras and choirs for national and international travel. I liked it—it’s like a big puzzle where you have to make sure all the pieces work together.”

Pierce started at the college a year and a half ago, coming to us from a similar position at Arizona State University. So far, she and her family love Colorado, and her job has been “a dream.”

“I love it. I feel like I mesh really well with the team. It’s the first time I feel like I’m part of a team that is so collaborative in a way that I really appreciate,” Pierce says. “It feels like a place where I belong.”

Along with her background in teaching music, Pierce is a violin player, most recently playing with the Chandler Symphony Orchestra before leaving Arizona; she hopes to get involved in Colorado, too. For her, music helped get her out of her shell and gain confidence in working with groups of people.

“Being able to get in front of a group of 100 or more students and to talk with them, teach them about music, work with them on ideas—and then working at ASU and getting that background working with the faculty as a support—I think it’s helped me be a little more outgoing than I was previously.”

Browse previous staff spotlights

In this edition of our series highlighting our wonderful, multitalented staff, meet Javier Abreu, Sabrina Green, Sabine Kortals and Kayla Pierce!

Off

Traditional

White

Forever Buffs Volunteer Spotlight: Judith Glyde

Mariefaith Lane — Fri, 17 Jul 2026 21:10:22 +0000

Forever Buffs Volunteer Spotlight: Judith Glyde Mariefaith Lane Fri, 07/17/2026 - 15:10

Keeley Haynes

For more than 20 years, Professor Emeritus Judith Glyde shared her passion for music with ��Ҵ�ý�ƽ�� College of Music students as a professor of cello and chamber music and chair of our strings department.

Now, she continues to bring joy and expertise to the CU community as a Forever Buffs New York alumni chapter board member. From producing specialty holiday performances amidst the COVID-19 pandemic to promoting cultural events around New York City, Glyde strengthens bonds among our alumni and deepens her personal enrichment through volunteering.

“We grow from knowing the students and, hopefully, they grow from knowing us,” said Glyde upon receiving the College of Music’s Distinguished Service Award in 2022. “To be able to continue a relationship with our alums, supporting their music and their dreams, is a rare privilege.”

Read on to learn how Glyde transfers her wisdom from teaching to volunteering and continues to make an impact today.

Continue to full Q&A

For more than 20 years, Judith Glyde shared her passion for music with ��Ҵ�ý�ƽ�� College of Music students as a professor of cello and chamber music and the Strings Department Chair. Now, she continues to bring joy and expertise to the CU community as a Forever Buffs New York alumni chapter board member.

Off

Traditional

White

The musical talents of College of Music staff members, Part III

Mariefaith Lane — Tue, 07 Jul 2026 18:24:21 +0000

The musical talents of College of Music staff members, Part III Mariefaith Lane Tue, 07/07/2026 - 12:24

Kathryn Bistodeau

Chiu in the pit for “The Cunning Little Vixen.”

For Senior Program Manager of Stewardship + Donor Relations Shih-Han Chiu, her life in music and administration has come full circle. In her role, Chiu (DMA ’13) connects with College of Music donors—planning events, building relationships and thanking them for their generous, impactful support.

“I wanted to do something for the College of Music,” she says. “I know scholarships mean so much for students. So how can I find more money for students to support them? By offering my help to the college.”

Chiu also remains involved with music, finding many opportunities to pull out her bassoon—from gigging with local orchestras to playing in the pit orchestra for College of Music productions, most recently for “The Cunning Little Vixen” opera. She also stepped in as the sabbatical replacement for Professor of Bassoon Yoshi Ishikawa in the fall 2025 semester.

“It’s quite a bit of fun. I’m happy to share my knowledge, even some entrepreneurship ideas with the bassoon studio students. I can also introduce donors like, hey, here’s a student and what they do, what they want and what they think. I can share students’ ideas with donors.”

What Chiu learned in her music education pushed her towards administration, and now that administrative role is leading back to music. “It’s kind of natural. It’s like, what we learn from school—how to be a teacher, a composer, a bassoonist, how to be disciplined and thoughtful—led me into entrepreneurship and becoming an administrator, organizing events and engaging with donors. And that led me back to the College of Music to serve our students. It’s all full circle for me.”

Klopp performing in Boulder Opera’s “Pinocchio.”

In her role as the college’s Lead Financial Services Travel + Procurement Coordinator, Casey Klopp books guest, faculty and student travel, and assists with purchases for all aspects of the college. She’s also a classically trained opera singer.

An alumna with a master’s in vocal performance, Klopp was thrilled to see the position open after graduating. Intrigued by working for the college and interested in the logical, organizational aspects of the role, she has been a key part of the finance team for more than four years—while performing regularly.

In 2024, Klopp held the titular role in Boulder Opera Company’s production of “The Adventures of Pinocchio.” “That was a big endeavor,” she says. “That’s one of the performances I’d consider the peak in my career so far.”

Since then, Klopp has performed in local churches which she says reminds her of why she wanted to be a musician in the first place—sharing an emotional experience with an audience. She also joined our choirs in performing at Boettcher Concert Hall in 2023, directly combining her administrative and musical talents. “It was cool to see both sides of the coin. When you’re in the choir, you don’t really realize how much logistical planning goes into it. It was fun to plan and then to reap the rewards of the performance, too.”

Klopp’s favorite part of her job is getting to appreciate the art produced at the college—and its impact on our greater community. “Continuing to help build our community, creating a culture of classical music in Boulder and beyond, and seeing our students gain those experiences—I think that’s really rewarding.”

Communications Manager MarieFaith Lane currently balances her position with pursuing a Doctor of Musical Arts (DMA) in violin performance at Boston University.

Also a ��Ҵ�ý�ƽ�� alumna, Lane (MM ’22, AD ’24) first worked as a part-time student employee, eventually transitioning to full-time. To her, combining music with other fields is an important part of her education and career path. “While music has always been my passion, I’ve always enjoyed exploring other areas of study,” she says. “I believe that curiosity and a lifelong love of learning have broadened my perspective, deepened my understanding of the world and enriched the way I approach music.”

Her experience on staff has also provided her a different perspective on academia—getting to see the administrative logistics that help make the magic happen. “As someone pursuing a performance degree, I’m often focused on what happens on stage, so it has been incredibly meaningful to gain insight into the many efforts that happen behind the scenes. Collaborating with College of Music staff and faculty to help keep everything moving has been a rewarding experience.”

Between her full-time communications role and the demands of her degree program, Lane maintains a rigorous schedule. She credits her music background to helping her juggle and prioritize responsibilities: “In music, you learn far more than how to play an instrument. You develop important life skills—like perseverance, discipline and resilience, among many others—and I think those qualities are a big part of why I’m able to balance both commitments.”

As with many of our staff, what stands out to Lane is the people who comprise our college. “I love being part of our team and working with Sabine. The people are really special at the College of Music,” she says. “I’ve enjoyed getting to know the College of Music community in a new way. Transitioning from being a student to becoming a staff member has been a wonderful experience and has given me a greater appreciation for the community I’ve been part of for so long.”

Andrew “Metz” Metzroth knows how to put on a show. Having earned a BFA in theatre technology, a BA in religious studies, an MA in theatre and an MS in organizational leadership from ��Ҵ�ý�ƽ��, he started his career in the College of Music box office 18 years ago and worked his way up to his present position as Executive Director of CU Presents. The promotion came after a nationwide search and, according to Metzroth, his current role “certainly falls in the category of dream job.”

Metzroth communicates with CU Presents’ partner organizations, making sure everyone has what they need to make the performances successful. Working on campus is special, he says, because of the variety of performances. “I have always loved working at the University of Colorado Boulder. We have dance, theatre, musicals, operas, instrumental music, jazz and all sorts of ensembles at all different levels—from student recitals to fully professional touring shows. There are only so many places where you can interact with so many different levels of the arts at the same time.”

Alongside his history on campus, Metzroth has a comprehensive background in the performing arts—he’s worked in lighting design, sound design, projection design, directing, acting and designing sets, and also did a stint as production manager of the Boulder Ensemble Theatre Company. Additionally, he teaches Intro to Arts Administration in our college each fall.

“One thing that I love in my work as an administrator is—because I’ve been on the creative side so many times—it’s easy to talk to artists about what their priorities are, what they need, what’s going to work best for them,” he says.

To current performing arts students, Metzroth’s advice is simple—be curious. “I would enthusiastically encourage all of them to get curious about what’s happening in the parts of the performance they don’t know or understand yet. Don’t just walk backstage and expect everything to be where it needs to be. Know the people who are putting those things there and why they’re putting them there. Talk to the people who are promoting your shows and also make sure you understand what your audiences are reacting to. If you can get all three of those things together, you will become a better artist.”

Learn about the College of Music’s universal musician approach

At the College of Music, we’re privileged to have talented artists in every office: Of course, our passionate students and dedicated faculty, but also our incredibly accomplished staff members. Continuing our series highlighting the artistic gifts among our staff, meet Shih-Han Chiu, Casey Klopp, MarieFaith Lane and Andrew “Metz” Metzroth.

Off

Traditional

White

2026 Concerto Competition winners announced

Mariefaith Lane — Thu, 02 Apr 2026 20:02:56 +0000

2026 Concerto Competition winners announced Mariefaith Lane Thu, 04/02/2026 - 14:02

Kathryn Bistodeau

Congratulations to the winners of the College of Music’s 2025-26 Concerto Competition! On March 29 in Grusin Music Hall, the competition finals showcased the college’s remarkable graduate and undergraduate students competing for a chance to perform with the ��Ҵ�ý�ƽ�� Symphony Orchestra this fall. Undergraduate flutist Corva Graham and graduate cellist Sam Moore won that honor and will appear as soloists with the orchestra during its 2026-27 season.*

Undergraduate competition winner
Corva Graham, a third-year undergraduate studying flute performance and statistics & data science, won the undergraduate competition performing Hisatada Otaka’s Concerto for Flute and Orchestra, Op. 30b accompanied by Associate Teaching Professor of Collaborative Piano Hsiao-Ling Lin. Graham is a student of Professor of Flute Christina Jennings, Brook Ferguson and Rachelle Crowell.

“Winning this competition is incredibly meaningful to me and I’m so excited to share the Otaka concerto later this year,” she says. “Though not widely known, it’s one of my favorite works. The concerto blends Eastern musical ideas with late-Romantic influences. It contains post-World War II gravity paired with a persistent sense of resilience and hope.

“I'd like to thank Professor Christina Jennings and Brook Ferguson as well as the ��Ҵ�ý�ƽ�� Fludio [flute studio] for their support. I'm also feeling especially grateful to Dr. Hsiao-Ling Lin for her inspiration and collaboration.”

Graduate competition winner
First-year master’s student in cello performance Sam Moore performed Dmitri Kabalevsky’s Cello Concerto No. 2 in C minor, Op. 77 accompanied by Will Shi, lecturer, collaborative piano. Moore is currently studying with Associate Professor of Cello David Requiro.

“I feel very grateful for all of my mentors, especially Professor Requiro, for their guidance,” he says. “I'd also like to thank my collaborator, Dr. William Shi, for all his work. I'm excited to perform this incredible concerto with the orchestra next year!”

Honorable mention
Congratulations also to Spencer Cox, saxophone—a student of Assistant Professor of Saxophone Nathan Mertens—who performed Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra earning an honorable mention.

Congratulations to all who competed this year!

Undergraduate finalists:
Corva Graham, flute
Keegan Arnsmeier, trumpet
Willem Rohwer, double bass

Graduate finalists:
Sam Moore, cello
Spencer Cox, saxophone (honorable mention)
Hannah Benson, mezzo-soprano
Conner Johnson, trumpet
Andrew Konopak, baritone
Katharine Nelson, violin
John Petefish, clarinet
Warner Nûñez Solano, piano
Jordan Spivack, horn

This year, the judging panel for the finals included Co-chair, Voice + Opera + Musical Theatre and Associate Professor of Vocal Coaching Jeremy Reger, Assistant Teaching Professor of Music Education and Associate Director of Orchestras Renee Gilliland, Assistant Professor of Conducting + Music Education and Associate Director of Bands Logan Sorey and guest judge Natasha Kislenko—piano/collaborative piano faculty at the University of California, Santa Barbara and Music Academy of the West, and principal pianist of the Santa Barbara Symphony.

*Check cupresents.org to catch the winners’ performances this fall!

Left to right: Reger, Kislenko, Graham, Gilliland, Sorey.

Left to right: Sorey, Gilliland, Moore, Cox, Kislenko, Reger.

Explore our awards + competitions

On March 29, undergraduate flutist Corva Graham and graduate cellist Sam Moore won first prizes in the annual College of Music Concerto Competition: They will perform with the ��Ҵ�ý�ƽ�� Symphony Orchestra this fall. Congratulations to all finalists, also including Spencer Cox, saxophone, who earned an honorable mention!

Off

Traditional

White

2026 Persevering Legacy—meet the performers

Mariefaith Lane — Thu, 12 Mar 2026 13:08:54 +0000

2026 Persevering Legacy—meet the performers Mariefaith Lane Thu, 03/12/2026 - 07:08

Kathryn Bistodeau

On March 26, the annual College of Music Persevering Legacy event will celebrate women composers including those from historically marginalized groups. Undergraduate and graduate students have the opportunity to choose compositions from the Helen Walker-Hill collection housed in our very own American Music Research Center, or contribute their own discoveries: This year, seven acts from across the College of Music will present pieces from Jessie Montgomery to Dolores White and more.

Holly McMahon

Senior composition student Holly McMahon describes the event as “music you’ve probably never heard before and a lot of students excited to share pieces that are uniquely interesting to them.”

McMahon is part of an ensemble performing excerpts from a ballet she wrote—“The Snow Queen”—, a rendition of a story by Hans Christian Anderson. McMahon will play piano alongside Katherine Fornshell (cello), Caden Craig (clarinet) and Elijah Pouliot (violin).

McMahon has performed in previous Persevering Legacy events and has been attending them since her first year at ��Ҵ�ý�ƽ��. “It was a really nice concert for me to go to when I was a freshman,” she says. “I didn’t know that much about female composers and it’s inspiring to see yourself in composers on a program. This year, I wanted to give back and add to the concert.”

She was commissioned by a local dance studio to compose “The Snow Queen” which was performed in full, with dancers, in December. McMahon herself danced seven years before beginning her undergraduate degree. “There’s so much joy that can come from writing music meant for movement,” she says. “It feels very me to have written this ballet.

“I really love the music that I wrote and the group that I’m playing with.”

Lucy O’Byrne

This is also the first year that the ��Ҵ�ý�ƽ�� Thompson Jazz Studies Program will be represented in the event with a sextet performing Esperanza Spalding’s “Mela.” Lucy O’Byrne, a sophomore in jazz saxophone performance, says that only makes sense: “Jazz is a very male dominated music and I’m not saying that classical music isn’t,” she says. “Just historically, women have not been safe or welcomed to perform in a lot of the spaces where jazz is welcome.”

O’Byrne jumped at the chance to perform a more difficult piece, diving in and working hard to prepare. “The music we’re playing is really challenging. We’re having a total of five or six rehearsals,” she says. “We really want to put time and effort into making it sound super good.”

The ensemble will also feature sophomores Bella Lanier (voice), Avi Bergman (trumpet), Gabe Hazleton (piano) and Gavin Hulse (drums), and freshman Mateo Perez (bass). While the ensemble wasn’t assigned by the department, the students have played together before.

“A really awesome thing about the jazz department—which I’m glad that we’re able to feature on this concert—is that all of us have a lot of experience playing with each other. The department’s small and we’re all friends who play together often,” adds O’Byrne.

Shai Wexler

Shai Wexler—a first-year master’s student in violin performance—will perform a piece for solo violin, “T’filah” (“Prayer”) by Lera Auerbach.

“It’s very meaningful to me because it’s a piece by a female Jewish composer on Jewish themes and that I feel very connected to because I’m Jewish,” she says.

For Wexler, there are parts of the piece that portray anxiety and unease about the world, and the ability to use music and prayer to express that. “This piece uses a lot of musical language from Jewish prayers and the violin really mimics the human voice,” she explains. “It sounds a lot like a cantor singing in synagogue which I think is really special.”

Wexler is also looking forward to the freedom the piece offers—it’s an unmetered work, meaning the performing musician can choose the rhythm and pacing. “That’s a really exciting opportunity for me because I haven’t played a lot of works like that,” she says.

“In classical music a lot of the time, we’re trained to play what’s on the page exactly as the composer intended. It’s been really meaningful to have this opportunity to break out of that a little bit and present my own unique interpretation of this piece.”

The participating students’ excitement and anticipation is palpable. They’re eager to work with the other students on the program and experience something new: “I’m really looking forward to being educated on artists and composers from other genres that are also underrepresented in this music,” O’Byrne says. “I’m looking forward to learning and hearing what other people have to say.”

Complementing the Persevering Legacy event on March 26, 7:30 p.m., Chamber Hall (S102), Imig Music Building, alumnus Gregory Walker (DMA ’92, composition)—son of the late Helen Walker-Hill and Pulitzer Prize-winning composer George Walker—will lead a master class for students on March 24, 11 a.m.-12:30 p.m. (N180D).

Discover the ��Ҵ�ý�ƽ�� Diverse Musicians’ Alliance

The ��Ҵ�ý�ƽ�� Diverse Musicians’ Alliance presents its annual Persevering Legacy event celebrating women composers including those from historically marginalized groups. Meet some of the student performers, learn about their chosen works and join us on March 26!

Off

Traditional

White

Meet Mihai Marica, Takács Quartet cellist designate

Mariefaith Lane — Tue, 03 Feb 2026 14:00:32 +0000

Meet Mihai Marica, Takács Quartet cellist designate Mariefaith Lane Tue, 02/03/2026 - 07:00

Adam Goldstein

Mihai Marica has plenty of musical memories of the ��Ҵ�ý�ƽ�� College of Music’s Takács Quartet-in-residence.

The Romanian-born cellist can easily rattle off moments he fondly associates with the internationally renowned quartet, currently in its 51st season: Obsessively listening to Takács recordings of the Beethoven cycle with fellow musicians; watching the Takács perform as part of the prestigious Cliburn Competition 20 years ago and being “completely mesmerized”; playing alongside Takács’ violist Richard O’Neill at the Lincoln Center in New York … and more.

“They’re such an honest and natural-sounding group,” Marica notes. “The musical tastes of the Takács Quartet through the eras somehow align with what I like musically, too.”

Starting this fall, Marica will have many opportunities to create more memories with the critically acclaimed group called “the essential quartet of our time” by The New York Times; that’s when Marica succeeds cellist András Fejér—the last remaining member of the original Takács Quartet, who will retire at the end of the current season. Leading up to the transition, Marica will join the quartet for its final Boulder performance this season in Franz Schubert’s String Quintet in C Major, D. 956; on Sept. 1, he’ll step into his role as a full-fledged member, signing on for a season that includes high-profile performances in Boulder and worldwide.

For Marica, his new position is the latest in a long string of prestigious musical roles. He started studying cello at the age of 7 in his hometown Cluj/Koloszvar, Romania, with Gabriela Todor and later Mihaly Guttman, who taught chamber music. “The school of cello playing that I was brought up in was a mix between the old Soviet school and the Hungarian school,” he says. “We were kind of right in the middle of those huge entities.”

From these roots, Marica became a chamber music luminary with a global reach: After studying at Yale University with Aldo Parisot, he went on to collaborate with orchestras and ensembles globally—from Chile to Mexico and from Switzerland to Russia. An alumnus of the Chamber Music Society of Lincoln Center’s Bowers Program, Marica has kept up a presence in that program and on that stage, and he’s called New York home for the past 15 years.

Moving to Boulder will be just one of many big shifts to come as part of joining the Takács Quartet, but Marica never hesitated in saying ‘yes’ to the invitation. “I still can’t believe my luck, that I was given this opportunity,” Marica says. “When I think about it, it’s a bit like the moment when Mr. Parisot said, ‘Why don’t you come and study with me at Yale?,’” Marica adds, referencing another seminal point in his career, “It’s life-changing.”

The Takács Quartet’s 2026-27 season will include works by Gabriela Lena Frank as well as more selections by Schubert, Carlos Simon, Johannes Brahms and Joseph Haydn. Beyond Boulder, the quartet will also bring its signature musical style to Carnegie Hall and embark on a North American tour with pianist Jeremy Denk.

While the composers, concerts and touring aren’t new for Marica, the chance to play with such an iconic ensemble feels novel. Stepping in for Fejér, whom Marica cites as a “model,” will carry its own significance; and aligning with the Takács’ dynamic approach onstage stands as a specific responsibility. “My ambition is to match their energy,” Marica says. “They’ve always blown me away on stage—they’re so direct in their music making, all qualities that I’m aiming to keep in the group dynamic.”

This fall, Romanian-born cellist Mihai Marica joins our internationally renowned Takács Quartet-in-residence. Get to know this accomplished artist!

Off

Traditional

White

The Cleveland Orchestra residency returns

Mariefaith Lane — Thu, 04 Sep 2025 11:00:13 +0000

The Cleveland Orchestra residency returns Mariefaith Lane Thu, 09/04/2025 - 05:00

Kathryn Bistodeau

From Sept. 10-12, members of The Cleveland Orchestra will resume their biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students, and offering coachings, rehearsals, panel discussions on auditions and careers in music, and more.

Professor of Clarinet Daniel Silver describes the residency as a unique opportunity for students to observe and learn from professionals in the industry.

“No one gets into The Cleveland Orchestra unless they’re one of the very best,” he says. “People don’t win jobs like that because they’re lucky. So you’re really dealing with an incredibly high level of skill and artistry.

“This is a really wonderful group of people, too—they have a sense of humor. And they love coming to Boulder, meeting students and sharing what they know.”

Participating members of The Cleveland Orchestra will team up with their instrument’s faculty counterpart at the College of Music for studio classes, lessons and coachings. For Silver, a standout event on the schedule is a side-by-side rehearsal with the ��Ҵ�ý�ƽ�� Symphony Orchestra.

“I think that’s one of the linchpins, because the orchestra is playing big orchestral repertoire—and not only do The Cleveland Orchestra members know these pieces well, but they’ve played them dozens of times in their lives,” he explains. “So they’re full of experience about the pieces, and how to be more artistic, responsive and professional in an orchestra at a high level.”

According to Silver, the impact of the residency on students is tangible: They come away fired up and eager to put their new ideas and advice into practice.

“Somebody who plays in an orchestra at this level all the time will bring insights, wisdom, suggestions, ideas about practice and approaches to the music that are unique—and that would be hard for our students to get anywhere else,” he says.

There’s also a personal connection for Silver, who grew up attending The Cleveland Orchestra concerts. “I used to hear the orchestra every week when I was in middle school and high school,” he reflects. “It took me a few years to realize when I would go other places and come back how fortunate I was. I’m looking forward to rekindling the connections to my hometown.”

Our gratitude to the 16 members of The Cleveland Orchestra who are joining us on campus this year:

Amy Lee, Associate Concertmaster
Stephen Rose, Principal Second Violin
Stanley Konopka, Assistant Principal Viola
Mark Kosower, Principal Cello
Maximilian Dimoff, Principal Bass
Mary Fink, Principal Piccolo | Flute
Frank Rosenwein, Principal Oboe
John Clouser, Principal Bassoon
Amy Zoloto, Bass Clarinet | Clarinet
Michael Sachs, Principal Trumpet | Cornet
Meghan Guegold, French Horn
Shachar Israel, Assistant Principal Trombone
Yasuhito Sugiyama, Principal Tuba
Paul Yancich, Principal Timpanist (retired)
Marc Damoulakis, Principal Percussion
Trina Bourne, Principal Harp

From Sept. 10-12, members of The Cleveland Orchestra will resume a biyearly collaboration with the College of Music that began over a decade ago—including a guest recital on Sept. 11, joined by College of Music faculty and students.

Off

Traditional

White

2025 Concerto Competition winners announced

Mariefaith Lane — Thu, 10 Apr 2025 14:00:00 +0000

2025 Concerto Competition winners announced Mariefaith Lane Thu, 04/10/2025 - 08:00

MarieFaith Lane

The College of Music’s annual Concerto Competition is always a highly anticipated event that celebrates the extraordinary skills and hard work of our undergraduate and graduate students. On April 6, this year’s final round of the competition culminated in two exceptional students earning first-place honors in their respective categories: Undergraduate violist Finn Cruit (BM ’25) and graduate pianist Ohad Nativ (PhD ’29). As a result of their achievements, they have the opportunity to perform with the ��Ҵ�ý�ƽ�� Symphony Orchestra next season.

Undergraduate competition winner
Senior violist Finn Cruit performed Gyula Dávid’s Concerto for Viola and Orchestra, accompanied by Associate Teaching Professor Suyeon Kim. Cruit is a student of Associate Professor of Viola Erika Eckert.

“It’s incredibly gratifying to have won this competition,” Cruit says. “I’ve played in the orchestra for many past winners and always looked up to them—they’re all fantastic players. I never saw myself in the same light, so I still can’t believe it. It’s amazing to imagine myself up there, and I can’t wait to play with the orchestra.

“I couldn’t have done this without my wonderful teacher, Erika Eckert. I’ve grown so much musically and personally over these past four years, and that’s largely thanks to her. Also, a huge thank you to Dr. Kim for accompanying me—this wouldn’t have been possible without you, too!”

Graduate competition winner
Pianist Ohad Nativ performed Sergei Prokofiev’s Piano Concerto No. 5 in G Major, Op. 55, accompanied by Bobby Pace. Nativ is currently studying with Professor of Piano Andrew Cooperstock.

“I feel very honored to have won the competition and validated in being able to bring attention to repertoire that is less frequently performed,” Nativ says. “I’m extremely grateful to my piano teacher, Professor Andrew Cooperstock, for helping me work through this unusual and difficult piece and allowing me to elevate it to competition standards.

“I’m also grateful to the wider ��Ҵ�ý�ƽ�� College of Music community, faculty, and competition judges and organizers for providing me with this opportunity and the ability to explore and promote my repertorial inclinations further than ever before.”

Big thanks to our faculty adjudicators—Gary Lewis, Matt Dockendorf and Julie Simson—and congratulations to all participating student competitors and collaborative pianists, and to those who advanced to the final round:

Undergraduate competition

Finn Cruit, viola
Corvina Graham, flute (honorable mention)
Laura Lambrech, oboe
Zixi Wang, piano
Sam Webster, euphonium

Graduate competition

Ohad Nativ, piano
Sydney Hoehl, trumpet
Katiann Nelson, mezzo-soprano
Miguel Angel Ortega Bañales, tenor
Leah Pernick, violin
Max Randal, piano
Leilani Spurlock, trumpet
Kisa Uradomo, violin (honorable mention)
Natalie Zeles, flute

To enjoy the winners’ performances in the fall, visit cupresents.org for details.

On April 6, undergraduate violist Finn Cruit and graduate pianist Ohad Nativ were awarded first prizes in the College of Music’s annual Concerto Competition. Congratulations to all participating students and collaborative pianists!

Off

Traditional

White

Enion Pelta-Tiller on pushing creative expression

Mariefaith Lane — Wed, 05 Mar 2025 16:16:20 +0000

Enion Pelta-Tiller on pushing creative expression Mariefaith Lane Wed, 03/05/2025 - 09:16

Photo credit: Anne Staveley

Adam Goldstein

Photo credit: Anne Staveley

A wealth of influences coexist in Enion Pelta-Tiller’s 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—all of these ingredients figure into Pelta-Tiller’s ambitious and unique brand of fusion.

It’s 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.

“The Bay Area was a great place to grow up, musically speaking,” Pelta-Tiller recalls. “I 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—and soaking it all up.

“When I moved to New York after college, I got involved in playing new music, rock, Irish music and bluegrass.”

Combined, these influences helped carve out Pelta-Tiller’s 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’s a founding member of the critically acclaimed indie-folk group Taarka and directs our new Cross-Genre American Roots Strings Ensemble, roles that draw directly on her wide-ranging interests and skills. She’s also a master’s candidate in jazz performance and pedagogy at the College of Music, set to graduate in May.

Pelta-Tiller’s no-holds-barred musical approach is sure to figure in her upcoming show at Dazzle Denver on March 11 with her group EnQuintet—a jazz ensemble that also features ��Ҵ�ý�ƽ�� faculty members John Gunther on winds/reeds and Victor Mestas on piano as well as Eric Thorin on bass and Kevin Mathews on drums.

“This time, we’re mostly focusing on repertoire from members of the David Grisman Quintet because I’m interested in how that music—so inspired by both jazz and bluegrass—sounds when played by more traditional jazz instruments instead of in a string band setting,” she says. “For a couple tunes, we’ll add extra horns—Wil Swindler, Jonas Peterson and Cian Kruger—and give our pianist a rest.”

The show will also be an occasion to experience Pelta-Tiller playing her six-string violin—also known as a fadolin—made by New York-based luthier Eric Aceto, offering the depth and tone of a baroque instrument. “It’s amazing for accompanying myself on voice and expanding my improvisational palette,” she notes.

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

She speaks of the work she’s 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’s all been part of a musical evolution that began when Pelta-Tiller played musical call-and-response games with her father as an infant.

��Ҵ�ý�ƽ�� 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.

“In directing combos, my arranging and improvisation skills have been challenged,” she notes. “And 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.”

A wealth of influences coexist in Pelta-Tiller’s ambitious, experimental approach to music. A master’s candidate in jazz performance + pedagogy at our College of Music, her creative evolution to date will culminate in a show at Dazzle Denver on March 11.

Off

Traditional

White

Outstanding winter 2024 graduate student: Melda Turunçoğlu

Mariefaith Lane — Fri, 13 Dec 2024 22:49:40 +0000

Outstanding winter 2024 graduate student: Melda Turunçoğlu Mariefaith Lane Fri, 12/13/2024 - 15:49

Adam Goldstein

For Melda Turunçoğlu, music is more than its ingredients.

Turunçoğlu—who graduates this month with a master’s in guitar performance from the ��Ҵ�ý�ƽ�� College of Music—finds a value that goes deeper than melody, harmony and tempo when she plays classical guitar. Originally from Turkey, Turunçoğlu draws on music as an essential tool to make connections in a new country and a new culture.

“English is my second language. It’s difficult to try to connect with people in a different language,” she explains. “When I first came to the U.S., I was uncomfortable talking to people—I felt I couldn’t explain myself well. But I found a connection through music. It’s not only melody, or rhythm—you’re connecting with people.”

Turunçoğlu speaks candidly and earnestly about the odyssey that brought her from her native Turkey to a two-year stint in Italy (where she attended an early music school in Venice and studied with lutenist Massimo Lonardi for a year), then back to Istanbul and finally to her current home in Boulder.

Though she communicates in English with ease and grace, approaching a new language, culture and pace of life in Boulder wasn’t easy. Turunçoğlu came to Colorado with her husband and young son six years ago, and found herself facing profound inner questions.

“I began to ask myself, what am I doing here? Maybe I was regretful about coming here. Everything is very different,” Turunçoğlu recalls, adding that she realized she missed being a musician and a performer. That self-examination ultimately led her to contact Associate Professor of Guitar Nicolò Spera. “I played guitar for him and he encouraged me a lot to apply for a master’s at ��Ҵ�ý�ƽ��.”

That initial show of support from Spera ultimately offered a path toward connection, purpose and fulfillment as Turunçoğlu set about honing her craft and finding ways to communicate creatively on a universal level—an approach that aligns with the College of Music’s commitment to developing broadly-based, multifaceted universal musicians.

She expanded her network among faculty and fellow students alike, continuing to work with Spera and connecting with recently retired Professor of Harpsichord Robert Hill, who worked with Turunçoğlu on Baroque music and included her in showcases. The chance to play for audiences, to create that immediate bond with listeners, proved to be an important step in Turunçoğlu’s evolution as an artist.

“Hill encouraged me to play solo in his ensemble showcases even though I was feeling insecure after so many years without performing for people. He told me, you have to share your music. You are here for this,” she says. “So I played. I played many times for his ensemble showcases during the past two years—as well as in smaller spaces such as a retirement community, a coffee shop and even my son’s school. There was an earthquake in Turkey last year and I played for a fundraiser. It was an amazing feeling to help people in need with my music.”

All of these opportunities helped Turunçoğlu grow and advance, including the chance to study the music of the Renaissance, and the Baroque and Romantic eras; occasions to share her art with audiences; and access to a higher grade of instrument built by luthier John Weissenrieder.

“John’s family gave some of his guitars to the College of Music’s guitar studio and Nicolò gave me one of them for two years. I owe a lot to this guitar,” she says. “I met with John’s parents. They came to all of my recitals. We hugged and cried and it felt so nice to connect with them. They’re like a family now.”

At ��Ҵ�ý�ƽ��, Turunçoğlu has grown as an artist, a musician and as a part of our community. And she’s intent on continuing the journey—teaching, performing and learning. Turunçoğlu has been accepted to the College of Music’s Artist Diploma program and will begin studies next fall.

In the meantime, she’ll continue to draw on her music to find new ways to communicate and connect to a community that’s come to feel more like home.

“I didn’t perform for almost 10 years. I began again, and I feel like now I’ve found a connection with people. That’s precious for me and I don’t want to lose it,” she says. “People here—they care about your gift. They see a special thing. You are making music, they share their feelings afterward—and it’s great.”

The University of Colorado Boulder’s winter 2024 degree conferral is Dec. 19. To all our extraordinary graduates, CONGRATULATIONS and welcome to the Forever Buffs family—we hope you’ll join us for our spring 2025 recognition ceremony!

Meet Melda Turunçoğlu who graduates this month with a master's in guitar performance!

Off

Traditional

White