28th Season 2011 - 2012

Unanswered QuestionsMarch 3 & 4, 2012

For the Love of Music

Thomas Wilson, Music Director

Chamber Orchestraof the Springs

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Meet the Orchestra!Family Concert

Our belated congratulations to our young friend Clare, who submitted a beautiful coloring entry at our Family Concert in January. To our dismay, it was overlooked last month, and so we feature it today and include her as one of our winning entries.

Clare

Opposites AttractSunday, March 18, 2012, 2:30 PM

Packard Hall, Colorado SpringsSchubert • Wolf • Brahms

Tickets: $15 Adults; $7.50 StudentsMilitary discounts available at the door; Students free with

adult paying full price; Free for CC students and faculty

Tickets Available at all Ticketswest locations, www.ticketswest.com, (719)576-2626 or toll free at (866)464-2626, and at the doorFor more information, please visit our website at www.veronikastringquartet.com

Scott Kluksdahl, Cello

The Veronika String QuartetEkaterina Dobrotvorskaia • Karine Garibova • Veronika Afanassieva

with Scott Kluksdahl, Cello

Veronika String Quartet

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Chamber Orchestra Of The SpringsThe Chamber Orchestra of the Springs provides a unique opportunity for people in the Pikes Peak region to hear and appreciate the wealth of orchestral music for small orchestras. Through discovery, detailed rehearsal and exceptional performances, the Chamber Orchestra of the Springs presents great classical repertoire, uncovers forgotten gems of the past, and brings new music to our community.

We wish to express our sincere appreciation to the following organizations:

Print Media Sponsor

J. H. Edmondson Foundation

H. CHasE stonE trust

Chamber Orchestra Of The SpringsP.O. Box 7911

Colorado Springs, CO 80933–7911(719) 633–3649

www.chamberorchestraofthesprings.org

“For the Love of Music”

Board Of TrusteesNasit Ari, PresidentCharlease Bobo, Past PresidentMichael Grace, Vice PresidentNicole de Naray, TreasurerHelene Knapp, Volunteer CoordinatorChuck CabellRebecca Harrison

Susan LoringPam MarshJay NormanKaren PeaceChristina Soper-SchwartzGlen WhiteheadSylvia Hutson, Administrative Manager

John G. Duncan Charitable Trust

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Thomas WilsonMusic Director

Thomas Wilson is currently Music Director of the Chamber Orchestra of the Springs, Associate Conductor of the Colorado Springs Philharmonic, Cover Conductor for the New York-based pops show Symphonic Night at the Oscars, serves on the music faculties at Colorado College and the Colorado Springs Conservatory, and maintains an active guest conducting schedule. Mr. Wilson previously conducted for the Colorado Springs Youth Symphony program and founded the Young Concert Artists of Colorado Springs.

Thomas began studying piano at the age of four. Later studies included trumpet, percussion, string bass and voice, before concentrating his efforts on trumpet, conducting and composition. Thomas graduated summa cum laude from the University of Northern Colorado, receiving the School of Music’s highest honor—the Departmental Scholar Award.

A primary focus of Mr. Wilson’s conducting career has been collaborations between performing arts organizations, which he sees as essential to artistic growth and a unified arts community. Thomas has led the Colorado Springs Philharmonic and the Chamber Orchestra of the Springs in collaborative performances with the Colorado Springs Children’s Chorale, Colorado Vocal Arts Ensemble, Young Concert Artists, Colorado Springs Youth Symphony, Pikes Peak Ringers, The United States Army Field Band, Ballet Society of Colorado Springs, Peak Ballet Theatre, Fusion Pointe Dance Company, Ormao Dance Company, and the Colorado Springs Conservatory, just to name a few. Thomas frequently conducts new works by local composers, including the world premier of Mark Arnest’s Pike’s Dream, about the life and times of Zebulon Pike. Thomas’ recent recording projects include the world premier recording of Kevin McChesney’s Ring of Fire and a live, 2-CD release of the Flying W Wranglers with the Colorado Springs Philharmonic.

Winner of international recognition as a trumpeter, Mr. Wilson has extensive experience performing and recording with orchestras, ensembles, and artists. He is one of only three trumpeters ever selected as a finalist for both the International Trumpet Guild Orchestral and Solo Performance Competitions in the same year. As a composer and arranger, Thomas has dozens of published titles and is currently arranging new artist features and a Big Band jazz program for the Philharmonic.

Mr. Wilson has been called “someone to watch” and “a very exciting conductor” by Michael Tilson Thomas, one of the foremost conductors of our time.

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Chamber Orchestra Of The SpringsThomas Wilson, Music Director

Unanswered QuestionsMarch 3 & 4, 2012

Ernest Bloch Concerto Grosso No. 1 for Piano and Strings(1880 – 1959) I. Prelude II. Dirge III. Pastorale and Rustic Dances IV. Fugue Susan Grace, piano

Clara Schumann Piano Concerto in A Minor, op. 7(1819 – 1896) I. Allegro maestoso II. Romanze: Andante non troppo, con grazia III. Finale: Allegro non troppo Susan Grace, piano

INTERMISSION

Charles Ives The Unanswered Question(1874 – 1954)

Igor Stravinsky Pulcinella Suite(1882 – 1971) I. Sinfonia II. Serenata III. Scherzino IV. Allegro V. Andantino VI. Tarantella VII. Toccata VIII. Gavotta con due variazioni IX. Vivo X. Minuetto XI. Finale Movements played without pause.

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First Violin*1Jacob Klock

*2 Kristen KunkelTerri Moon

Kay WehoferDebora FalcoIngri Fowler

Elizabeth Greenberg

Second Violin*Katherine Jones

**Kelly Dean PilarczykDeborah Youngerman

Jesse MaurerAndrea BullockCharlease Bobo

Viola*†Matthew Canty

Calvin PetersDiana Zombola

Sara Miller

Cello*†Suzanna Schulze

**Norah ClydesdalePam Chaddon

Dylan TylerSabrina Baugh

String Bass*†Cathy DavidsonMichael Vunovich

Flute*Phyllis WhiteKaren Morsch

Oboe*†Carla Scott

Joyce Hanagan Bassoon*†John LawsonSkyler Smith

Thomas WilsonConductor

The Players Of The Chamber Orchestra Of The Springs

*1 Concert Master*2 Asst. Concertmaster* Principal** Asst. Principal*† Acting Principal

Timpani *Carl Cook

Trumpet*Glen Whitehead

Dan BellFrench Horn*†Garry Stephens

Christina Schwartz-SoperClarinet

*†Heike GazettiJennifer Allgood

Trombone*David Quintanar

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The Chamber Orchestra Volunteer Corps

“For the Love of Music”

We wish to thank our volunteers who assisted at our February concert :

Betty Rickel Norton Bain

Ginny Holloman Cheri Morse

Hallie and Chuck CabelVictoria and Fred Boswell

Susan Loring

Please help us save paper and money by recycling your program back

to the COS concert staff at the end of the Broadmoor Community concert. You are welcome to take your program

with you if you like, but if you don’t have a particular reason to hang onto it,

please consider leaving it with us for the use of a Sunday afternoon patron!

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Featured Artist - Susan Grace, pianoSUSAN GRACE has performed solo and chamber recitals, and has appeared as soloist with orchestras in the United States, Europe, the former Soviet Union, India and China. She has, in addition, performed in numerous series and festivals, including the Aspekte Festival in Salzburg, St Paul Chamber Orchestra’s new-music series Engine 408, Phillips Collection in Washington, D.C., the Grand Teton Festival, the Cape Cod Music Festival, Music at Oxford, and the Helmsley Festival in England. Ms. Grace is Associate Chair, Artist-in-Residence

and Lecturer in Music at Colorado College and Music Director of the Colorado College Summer Music Festival. She is a member of Quattro Mani, an internationally acclaimed two-piano ensemble that made its New York debut in January, 2001 in Carnegie Recital Hall to a sold-out hall. They were immediately re-engaged for four more seasons. In February Quattro Mani recorded Shapeshifters, a concerto written for them by Paul Lansky, with the Alabama Symphony. In May, 2012 Quattro Mani will perform the same work with the symphony in Carnegie Hall. Ms. Grace has recorded for Bridge Records, the Belgium National Radio, WFMT in Chicago, the Society of Composers, Wilson Audio, Klavier International and Klavier Music Productions. New releases on Bridge Records are Kindred Spirits, Concertos for Two Pianos and The Music of Stephan Wolpe. She was nominated for a Grammy in 2005 in the Best Small Ensemble Performance category. Ms. Grace is a recipient of the 2005 Business and Community Alliance Partner award for making a significant contribution to the non-college community in Colorado Springs, Colorado. In April 2009, Grace received a Pikes Peak Arts Council “Force for the Arts” award, which celebrates Colorado Springs community members who contribute to the arts in education. In September 2009 the ninth annual Pikes Peak Arts Council Awards honored her work as music director of the Summer Music Festival with the “Vision, Courage and Achievement Award”.

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Program NotesLyricism and Timeless Beauty

The theory of atonality in itself is an anomaly where genuine music is concerned—a theory, frankly, as impractical as it is fundamentally stupid.—Ernest Bloch, to his

students at the Cleveland Institute of Music

In 1920, Ernest Bloch was asked to found a music school in Cleveland, Ohio. Energized by the idea that founding a school might allow him to focus his energies, he founded the Cleveland Institute of Music, which remains one of the finest music schools in the country today. He must have been perfectly suited for the task, as enrollment increased from seven in 1920, to 200 in 1921, and 400 in 1922. This was probably due to Bloch’s notorious sense of focus and energy. Novelist Sherwood Anderson described him as “the most dynamic, overwhelmingly forceful man I ever met.” However, this intensity came at a price, as Bloch soon found himself in conflict with the school’s wealthy donors, in part because of his refusal to compromise on artistic issues, leading to his resignation after only five years. Bloch’s style of composition was decidedly

traditional, a reaction against atonality and the avante garde in an age when innovation was almost more important than quality. Bloch’s students at the Institute doubted that traditional forms and techniques could speak to modern audiences, so he wrote the Prelude of his Concerto Grosso No. 1 to challenge them. When the Institute’s orchestra played the piece with obvious enthusiasm, Bloch exclaimed, “What do you think now? It has just old-fashioned notes!” Here was solid proof that the concerto grosso—a genre which had practically fallen into oblivion at the end of the Baroque Era—could speak to the modern age and adapt to a truly modern (though not too modern) musical language. The piece itself is remarkable for its diversity and depth of expression within the confines of so traditional a form. The funeral dirge of the second movement is surprisingly descriptive, though Bloch never revealed a program for it, and the pastorale and rustic dances of the third movement are also highly evocative. The final fugue is decidedly joyous, yet modern. Throughout, the piano part is just shy of a concerto solo, virtuosically playing a key role but never stealing the show. About Ernest Bloch: Swiss composer Ernest Bloch (1880 – 1959) began his musical studies on the violin at age nine, and started composing soon afterward. After intensive study at the conservatory on Brussels (including studies with violinist and composer Eugène Ysaÿe) he began a period of moving between major musical centers in Europe to study with leading composers before returning to Brussels in 1903. He moved to the United States in 1916, becoming an American citizen in 1924. In 1920, he founded the Cleveland Institute of Music and moved on to lead the San Francisco Conservatory of Music in 1925, a post which he also held for only five years. In 1941, he moved to Agate Beach, Oregon, a small coastal community, and lived there happily

Overview: Ernest BlochBorn: July 24, 1880, in GenevaDied: July 15, 1959, in Portland, OregonWork Composed: 1924 – 1925Why It Matters: Bloch’s Concerto Grosso No. 1 for Strings and Piano brought the concerto grosso out of the oblivion it had endured since the early Classical

era. It is one of the best pieces for strings from the 1920s

Ernest BlochConcerto Grosso No. 1 for Piano and Strings

13Program notes continue on page 14

Program Notes, continued

Born: September 13, 1819, in LeipzigDied: May 20, 1896, in FrankfurtWork Composed: 1834 – 1836Why It Matters: Despite being horribly ignored, Clara Schumann’s Piano Concerto had a profound

impact on her husband’s piano concerto as well as Brahms’ First Piano Concerto, with lasting repercussions.

I have seriously considered my future and I have to tell you … that I cannot be yours until

circumstances have entirely altered … can you offer me a life free from all worries? … and must I bury my art now?—a diary passage from Clara Wieck, considering her pending marriage to Robert Schumann.

Composition was a man’s world in the Romantic Era. Few women composed seriously, and even Clara Schumann, a virtuoso pianist and towering intellect, regarded her own compositions as “mere woman’s work.” This is especially ironic, as her Piano Concerto in A Minor, op. 7 would have a profound impact on the development of the

piano concerto itself and an obvious influence on her husband’s Piano Concerto in A Minor, op. 54. Clara began work on the Piano Concerto when she was only fourteen years old. She and Robert were already infatuated and the two composed numerous piano pieces for each other. The Piano Concerto was supposed to be a single movement, but two years of composition produced three full movements. The influence of Chopin is clearly evident, and there were some remarkable innovations. The dialogue between the solo cello and piano in the second movement would be echoed in Robert’s Piano Concerto, and Clara would find a new balance between Chopin’s grace and Beethoven’s thundering virtuosity. Robert said the piece was “somewhere between a concerto, a symphony and a major sonata,” changing the role of the pianist and influencing Brahms’ First Piano Concerto. The single-movement version of the piece premiered in 1841 in Leipzig with Mendelssohn conducting and Clara playing the piano. In 1845, she once again took up the piece and added the Intermezzo and Finale. Robert would orchestrate the final movement for Clara. That this remarkable concerto, with its soulful Romanticism and graceful virtuosity, is not played more is truly a sign of how our world can overlook the contributions of women. About Clara Schumann: Born Clara Josephine Wieck in Leipzig on September 13, 1819, Clara Schumann was destined for a tumultuous life. Her parents divorced when she was four years old and she was raised by her father. She was a remarkably gifted piano prodigy. She met Robert Schumann after playing a recital when she was only eight. Robert admired her playing so much that he discontinued his law studies to study piano with Clara’s father, Friedrich Wieck. Robert would live in the Wieck household for about a year during those studies. Meanwhile, Clara continued her meteoric rise as a piano virtuoso, complete with lengthy European tours, a recital with virtuoso violinist Niccolo Paganini in Paris,

Clara SchumannPiano Concerto

in A Minor, op. 7

and productively for the rest of his life. Bloch followed in the footsteps of the German Romantic school, and many of his early works reveal obvious nods to Richard Strauss, but he also deeply admired Claude Debussy. With these diverse influences, he would develop a unique, personal style, fusing it with Jewish liturgical and folk music in his later works.

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Program Notes, continuedand the title of “Royal and Imperial Chamber Virtuoso”—Austria’s highest musical honor. On August14, 1837, Clara secretly consented to marry Robert Schumann. When Robert asked for permission to marry Clara, Friedrich Wieck was staunchly opposed, causing a protracted legal battle that was finally settled in the courts. Clara and Robert married on September 12, 1840. Clara continued performing and composing even as she raised seven children with Robert and became a champion of Robert’s music in her concert tours. In time, however, Robert’s mental instability would compromise her creative efforts. She recorded in her diary the challenges of finding practice time: “My piano playing is starting to suffer. This always happens when Robert is composing. There is not a single hour in the whole day that I can call my own. Just as long as I do not fall too far behind.” Robert wanted a traditional wife keeping home and raising children, while Clara was a concert pianist at heart. Robert hated touring; Clara loved it. Tensions would rise between them until Robert’s depression would lead him to a suicide attempt on February 27, 1854. Robert requested to be taken to an asylum in Bonn and would remain there until his death in 1856. After Robert’s death, Clara stopped composing, focusing entirely on her piano performances. She wrote in her diary, “I once believed that I possessed creative talent, but I have given up this idea. A woman must not desire to compose—there has never yet been one able to do it. Should I expect to be the one?” In 1878, she started teaching piano at the Hoch Conservatory in Frankfurt and continued until 1892, influencing a generation of emerging pianists. She played her last public concert in 1891 and died of a stroke on March 26, 1896. In 1878, a series of jubilee concerts were held at the Gewandhaus in Leipzig to honor Clara’s half-century career as a concert pianist. She programmed the music of one composer—Robert Schumann.

Charles IvesThe Unanswered Question

Overview: Charles IvesBorn: October 29, 1874, in Danbury, ConnecticutDied: May 19, 1954, in New York CityWork Composed: 1906Why It Matters: American composer Charles Ives was using certain modern compositional techniques years before they emerged independently in Europe. He was so modern that he was virtually

unacknowledged until near the end of his life. The Unanswered Question and Central Park in the Dark are viewed by some as the first “radical” music of the twentieth century.

But maybe music was not intended to satisfy the curious definiteness of man. Maybe it is better to hope

that music may always be transcendental language in the most extravagant sense.—Charles Ives

Ives composed Central Park in the Dark and The Unanswered Question in 1906 as a pair of pieces. For The Unanswered Question he considered two titles—”A Contemplation of a Serious Matter” and “The Unanswered Perennial Question”—eventually settling upon the title we know today. One of the titles he considered for Central Park in the Dark was “A Contemplation of Nothing Serious”, so one might think the pair of pieces was a contrast, yet they use the same compositional technique that became so associated with Ives’ style—the juxtaposition of different musical textures and ideas, moving at different rates of time. The Unanswered Question has three distinct elements: a slow and virtually pulse-less string background, a series of strident phrases in the woodwinds, and the solemn trumpet solo repeatedly sounding a five-note phrase that represents “the question.” Ives revised the piece in the early 1930s,

15Program notes continue on page 17

incorporating more detail and slightly altering the wind and trumpet phrases. He added a note to this revised score: “The strings play ppp throughout with no change in tempo. They are to represent ‘The Silences of the Druids—who Know, See and Hear Nothing.’ The trumpet line intones ‘The Perennial Question of Existence,’ and states it in the same tone of voice each time. But the hunt for ‘The Invisible Answer’ undertaken by the flutes and other human beings becomes gradually more active. … The ‘Fighting Answerers,’ as the time goes on, and after a ‘secret conference,’ seem to realize a futility and begin to mock ‘The Question’—the strife is over for the moment. After they disappear, ‘The Question’ is asked for the last time, and the ‘Silences’ are heard beyond in ‘Undisturbed Solitude.’” About Charles Ives: Charles Ives (1874 – 1954) was born in Danbury, Connecticut, to a U.S. Army bandleader and his wife. Receiving his early music studies from his father, Charles learned about unusual harmonic tools and studied the music of Stephen Foster. He became a church organist at the age of 14, composing and harmonizing hymn tunes for the services and even writing one of his most popular works, Variations on ‘America,’ during this period. He moved to New Haven in 1893, enrolling in the Hopkins School and moving on to Yale University one year later, studying composition with Horatio Parker and finding time to be active in sports. In 1899 – 1906, he worked for an insurance company that eventually failed, causing him to cofound a new company, which remained his steady source of employment until he retired. As an insurance broker, he devised new ways to structure life insurance packages, essentially laying the groundwork for modern estate planning, and even published a groundbreaking text on the subject. He composed in his spare time and kept a second job as a church organist until he married in 1908. According to his wife, Ives greeted her one morning in 1927 with tears in his eyes and declared that he could compose no more. (Strangely, this is roughly the same time that Jean Sibelius declared

Program Notes, continued

Overview: Igor StravinskyBorn: June 17, 1882, near St. Petersburg, RussiaDied: April 6, 1971, in New York CityWork Composed: 1919 – 1920 for the ballet, 1922 for the suite (revised in 1949)Why It Matters: After stunning the orchestral world with choreographic wonders like Rite of Spring and The Firebird, Stravinsky became decidedly neo-Classical in his later years, writing pieces for smaller forces and adopting forms from the Classical Era.

This “pure music” is critical to understanding Stravinsky’s more popular works. Pulcinella was Stravinsky’s first neo-Classical work.

Igor StravinskyPulcinella Suite

In everyday life we choose our garments to fit the occasion,

though our personality is the same whether we wear a dress suit or pajamas. The same applies to art. I garb my ideas in robes to fit the subject, but do not change my personality.—Igor Stravinsky.

Stravinsky was approached in 1919 by Serge Diaghilev—the legendary impresario with whom he collaborated for Rite of Spring, The Firebird, and Petrouchka—with the idea of composing a ballet based on the music of Pergolesi. Stravinsky initially declined, but when Diaghilev showed him some of Pergolesi’s lesser-known works, he changed

that he would stop composing.) His health caused him to retire from the insurance business in 1930. His only remaining musical activity was a revision of his Concord Sonata in the 1940s. When Ives died in 1954, his widow decided that the royalties from his music would go the American Academy of Arts and Letters to fund the Charles Ives Prize.

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C O M M I T M E N TT O O u r

C O M M u N I T Y

ThE gazETTE Is a prOud suppOrTEr Of ThE COlOradO sprINgs ChIldrEN’s ChOralE

The gazette and gazette Charities are committed to the relationships that make

a difference in our community.

We take pride in creating partnerships between those in need with

those who have something to give.

Working together, we strengthen thebonds that make Colorado springs a place

of promise, opportunity and hope.

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came the daring and complex Petrouchka, and then the riot-inducing Rite of Spring. Within three commissions, Stravinsky had gone from mere fame to a reputation as the controversial crown prince of the avant-garde. During World War I, Stravinsky sought refuge in Switzerland. Lean times obliged him to write for small ensembles, and Stravinsky described this period as his “final break with the Russian orchestral school.” At the close of the war, he moved to Paris; all of his property in Russia had been confiscated and the Communist government blocked Stravinsky’s royalties. Still receiving commissions from Diaghilev, Stravinsky embarked on a new, neo-Classical phase with Pulcinella. All of his remaining works would have a classical sense of clarity and elegance. After the deaths of his wife and daughter from tuberculosis, and with clear indications of World War II on the horizon, Stravinsky opted to move to the United States in 1939. He had already won a commission from the Boston Symphony Orchestra under Serge Koussevitsky, but Stravinsky chose to settle in Hollywood, where a large number of European artists (including composer Arnold Schoenberg) had already settled. The 1940s saw masterpieces like Symphony in C and The Rake’s Progress and a dramatic turn to serialism. Despite this radical change, Stravinsky’s name and reputation guaranteed every work multiple performances and a recording. In his last decade, Stravinsky achieved a surprising degree of celebrity, being feted by the Pope, the Kennedys, and, in a highly publicized return to Russia in 1962, by Nikita Khruschchev. Stravinsky died in New York on April 6, 1971. He was buried, at his own request, near his friend Diaghilev on Venice’s cemetery island of San Michele.

Program Notes, continuedhis mind. Unlike his earlier ballets, which featured huge orchestras and some of the most challenging orchestration in the repertoire, Stravinsky would opt for a small orchestra, Classical forms, and a simpler musical language, beginning a neo-Classical period which would remain a central characteristic of his compositions for the remainder of his career. The original ballet received its premiere in Paris on May 15, 1920, with costumes and scenery by Pablo Picasso. It was an immediate success, so Stravinsky followed with a concert suite in 1922, which was premiered in Boston on December 22, 1922. Always updating his works to maintain copyrights, Stravinsky would slightly revise the suite in 1949. He chose to keep eleven of the original eighteen movements for the suite, covering vocal lines in the orchestra. Today, the suite has become far more popular than the complete ballet. Synopsis: Pulcinella, a traditional hero of Neapolitan commedia dell-arte, has become the darling of the local girls. Their fiancés devise a plot to kill him, but Pulcinella fools them with a look-alike who feigns death and is “revived” by Pulcinella. The fiancés return once again in anger, but Pulcinella arranges for everyone to be married, deciding to marry Pimpinella so he can join in the happy ending. About Igor Stravinsky: Igor Stravinsky (1882-1971) was born near St. Petersburg. He was a musical child and a diligent student, but gave little hint of his future as one of the world’s most controversial composers. On the advice of his parents, he studied law, viewing law as a safer bet than a life in music. In 1903, an encounter with Rimsky-Korsakov changed his life. Studying with Rimsky-Korsakov, Stravinsky resolved to become a composer—against Rimsky-Korsakov’s advice! It was Serge Diaghilev, the famed choreographer and impresario, who launched Stravinsky’s career after hearing Scherzo Fantastique and Feu d’artifice at a St. Petersburg concert in 1909. The first commission was The Firebird, launching Stravinsky to overnight fame. Next

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Two Sunday Services9:00 and 11:00 a.m.

315 Lake Avenue • 473-1807www.broadmoorchurch.org

No matter who you are or where you

are on life’s journey, you are welcome here.

UPCOMING CONCERTSFriday, March 23, 7:00 p.m.

Songs of TravelAn art song recital presented by

Brian Harris & Angelina GadeliyaTickets are $10 at the door. All proceeds will

benefit the Gatsby Theatre Company Sunday, April 15, 3:00 p.m.

Abendmusik ConcertFree concert – donations accepted Sunday, April 22, 3:00 p.m.

Colorado Springs Youth SymphonyChamber groups and outstanding soloists

Free concert Saturday, May 5, 7:00 p.m.

Chamber Orchestra of the SpringsVoices of the Romantic

Tickets may be purchased at the door or by calling 633-3649

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Chamber Orchestra of the Springs SupportersThe following members of our 2011-2012 Season audience are as passionate about the activities of the Chamber

Orchestra of the Springs as are its players and Board of Directors. We offer them our heartfelt gratitude.

Season Underwriter $5,000 & upInasmuch FoundationBee Vradenburg FoundationChamber Orchestra Audience 25th Anniversary FundH. Chase StoneTrust

Concert Sponsor $2,500 to $4,999Norton Bain, Bain Family FoundationColorado Creative IndustriesJohn G. Duncan Charitable TrustThe Hester and Edwin Giddings FoundationGay & Lesbian Fund for ColoradoPikes Peak Community Foundation-Fund for the ArtsHerman Tiemens II & Charlotte Maier

Conductors Circle $1,000 to $2,499Libby Rittenberg and Nasit AriVirginia Snow and John CarterThe Joseph Henry Edmondson FoundationMichael and Susan GraceThe Dusty and Kathy Loo Fund of the Pikes Peak Community FoundationTerry and Darryl Thatcher

Benefactor: $500 to $999Charlease BoboCharles and Annie Ruth BoboRaymond and Barbara BrownNicole and Andrew De NarayWalter & Esther HarderHelene KnappTerry & Elizabeth LillyAnita R. MareshDr. Stephen & Pamela MarshBob and Lisa RennickAllan and Gloria WendtVerizon Foundation on behalf of John lawson

Sustainer: $250 to $499Judy BiondiniJane Dillon and David BredemeierCharles and Hallie CabellJeff Marshall and Shawn FinneganSam and Mary Alice HallRichard and Sandra HiltMrs. Laurence T. KircherDoris KneuerSara McDanielOliver and Gerda NickelsJames and Helen RynningSusan ShermanPeggy Houston ShiversDr. Susan R. Jensen and Mr. Thomas TrainerMs. Jeanna Wearing

Sustainer, continuedMrs. Barbara Webb, Webb Family FundPhyllis V. WhiteHarry and Louise WilsonThomas G. WilsonAnonymous

Supporter: $100 to $249Larry and Eve BarrettKaren BatesWilliam S. BeckerElizabeth BockstahlerAnn BroshMary Margaret BrummelerJudy and Duncan BurdickDr. and Mrs. Robert CarltonEve Tilley ChavezKathleen Fox CollinsThomas & Tania CroninJudy CunninghamPaul and Janet DavidsonDr. and Mrs. Donald D. DickensonMary J. EiberJudy Fair-SpauldingJoanna & Lindsay FischerDonald and Barbara GazibaraEugene and Jolinda GraceDunning & Mary IdleDorothy D. KautzmanGlenn & Helen KnightCW4 Mary KoeppBonnie and Dave Linder

Donors continue on page 20

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Supporter (continued): Donald and Marie LoganMary Elizabeth McKinleyCharles and Jane MerrittLynne MillerWanda OelrichDenis and Beverley PirioBetty Jane RickelCharles RittenbergEdie Greene and Alan SeigelHerb & Rhea SiegelJohn F. SlatteryMargaret SmithJoan StratingCharles Guy TheriotFrederica ThrashAnn Van HornDeb and Lonny WeltzerDon and Marylin WerschkyAnonymous

Friend: $1 to $99Tuck & Liz Aikin, Jr.Michael and Susanne AnselmiBarbara ArnestAnn AxelrodDirk BaayPhyllis E. BakerJudith BentonMartha BoothMr. and Mrs. Dwight S. BrothersDale & Gundi Brunson

Inga ChampionMary E. ClaytorPhyllis DeHartDiana DiMaraMr. Kor ElzengaJohn F. LeFevreDorothy FarthingElaine FreedTimothy & Kalah FullerSusanna and Fred GnadingerAdam & Alicia GoldCarla and Jim GreenhalghJudith GreistSherry L. HallIngrid HartWalter and Ann HecoxKarin HenriksenDonald & Gwendolyn JenkinsRonald and Sandra JohnsonSusan JohnsonW.R. JohnsonFrank and Elfriede JoppMarilyn KastelHarriet KiddCherry and Jack KinneyDeborah Perlet & Gloria KondrkSharon La MotheJohn & Linda LeFevrePatricia LiptonBarbara LoganScott and Susan LoringDr. Suzanne MacAulayKay G. MacEnulty

Helmut & Joyce MaileRichard and Jean McChesneyLinnea McDonaldMr. and Mrs. Michael McGrathJ. Terry and Judith McIntireJon & Becky MedvedDion F. MercierDr. & Mrs. George L MerkertCarol and Jim MontgomeryKate MyersFred and Mary Jean NelsonLisa NollJay NormanBaerbel and Arthur O’ConnorCarol & John PattenMarie and Ron PfisterPatricia PlankLynda Ward SchedlerColonel & Mrs. Charles ShayMurl SickbertDavid and Barbara St. AndreJoyce and Steve StiversRobert TaylorWilliam TunstillKaren WagnerCharles & Judith WarrenMs. Jeanne WearingMary WiegerB. June WilliamsNicholas WilsonAnonymous

Chamber Orchestra of the Springs Supporters, continued

The Chamber Orchestra of the Springs makes every attempt to list our donors accurately. If your name was inadvertently omitted or listed incorrectly, please accept our apologies, and contact us at (719)633-3649 or chamorch@gmail.com so that we can correct our records.

Thanks for listening! Now we’d like to hear from you! Contact us at chamorch@gmail.com with your questions and comments. We’re all ears!

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2011 - 2012 - Our Twenty-Eighth Season ContinuesSeason Finale, Voice of the Romantic May 5 & 6, 2012

Camille Saint-Saëns La Muse et le Poète Jacob Klock, violin & Gerald Miller, celloFrideric Chopin Andante Spianato and Grande Polonaise, op. 22 Angelina Gadeliya, pianoRobert Schumann Symphony No. 2 in C Major, op. 61

Inspired by the American and French revolutions and starting with Beethoven, the Romantic Era is the defining age of orchestral music. Chopin and Schumann, both brilliant pianists, embodied the new spirit of human expression, while Saint-Saëns carried the Romantic torch into the twentieth century with his La Muse et le Poète. Schumann’s inspiring Second Symphony brings our 28th season to a close in pure joy.

Tickets may be purchased by calling the Chamber Orchestra at (719) 633-3649or at www.chamberorchestraofthesprings.org

• 3:00 p.m. • Sand Creek High School 7005 N. Carefree

Call 685-6468 for tickets or information, or go to www.pikespeakphil.org

pikes peak philharmonic

Concert iv: Romantic CelebrationsApr. 22, 2012, 3:00 p.m.

Overture: TBD

Hanson: Symphony No. 2 Op. 30 (Romantic)

Turina: La Procession del rocio Op.9Concerto competition winner

We invite you to personalize your donation by underwritings one of our Principal Chairs.

This is a unique opportunity to honor a loved one or friends. Your supporting donation

will be acknowledged during the concert season with a notation on our Orchestra Roster

page indicating your support. This affordable opportunity is available at three

levels: $1920 - Concertmaster; $1400 - Second violin/viola/cello/bass principals; and $750 - Wind/Brass/Percussion principals.

Please contact 633-3649 or chamorch@gmail.com to take advantage of this

underwriting opportunity.

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Thank You!The members of the Chamber Orchestra play “for the love of music” and for you, our audience. Our music is brought to you by the support of generous individuals, foundations and corporations who share the vision of the Chamber Orchestra of the Springs being a vital part of the artistic life of our community. We are very grateful for their contributions.

The Chamber Orchestra of the Springs welcomes corporate sponsorships for its programs and activities. Please contact the Chamber Orchestra at 633-3649, for information on sponsorships and benefits.

Special Appreciation to...First Christian Church for the use of their wonderful sanctuary

Broadmoor Community Church for the use of their beautiful facilitiesGraner Music for distribution of sheet music

KCME-FM 88.7, A Voice for the Arts, for concert publicityRuth Hjelmstad for professional assistance with accounting

Grace Episcopal Church for use of their rehearsal space

Funds support productions of major operas in southern Colorado and assist career development of aspiring singers. We also support Opera Theatre of the Rockies

Goes to School, an award-winning arts education program that has exposed more than 875 teachers and 43,000 school children to opera.

We invite you to be a guest at our next meeting, held the first Wednesday morning of each month (Sept- June). For information, or to join PPOL, visit PikesPeakOperaLeague.org,

or call our membership chairman, Kay at 719-272-0529

The Opera League is welcoming new members ! Who We Are and What We Do • Promote Knowledge and Appreciation of Opera • Encourage Opera and Musical Theater Talent • Support Local Opera Events • Create Fun Fundraisers • Award Scholarships

Benefits of Membership • Increased Knowledge of Opera and Musical Theater • Monthly Meetings with Special Music Programs • Networking Opportunities • Contribution of Your Abilities to the Community • Newsletters and a Directory • Parties, Dinners and Other Fundraising Events

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