Chamber Orchestraof the Springs

2009 - 2010T homas Wilson, Music Director

For the Love of Music

Heart and HomeNovember 7 & 8, 2009

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Chamber Orchestra Of T he SpringsP.O. Box 7911

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

www.chamberorchestraofthesprings.org

The 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.

Board Of Trustees

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

Print Media Sponsor Printing Services

President: Charlease BoboVice President: Lynn Hurst

Secretary: Anita Maresh Treasurer : Jay Norman

Nasit AriTori Bardin

Michael GraceBettina SwiggerPhyllis White

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T homas 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 T he SpringsThomas Wilson, Music Director

Heart and HomeSaturday, November 7, 2009 7:00 p.m. Broadmoor Community Church

Sunday, November 8, 2009 2:30 p.m. First Christian Church

Richard Wagner Siegfried Idyll (1818-1833)

William Grant Still From the Hearts of Women (1895-1978) I. Little Mother II. Coquette III. Mid Tide IV. Bereft Rochelle Small Clifford, soprano

INTERMISSION

Carl Nielsen Clarinet Concerto, op. 57 (1865-1931) Ian Buckspan, clarinet

Antonín Dvořák Czech Suite in D Major, op. 39 (1841-1904) I. Preludium (Pastorale): Allegro moderato II. Polka: Allegretto grazioso III. Sousedská (Minuetto): Allegro giusto IV. Romanza: Andante con moto V. Finale (Furiant): Presto

The Chamber Orchestra of the SpringsAcknowledges With Great Thanks Music Donations Made For This Concert:

Wagner’s Siegfried Idyll: Donated by Jeanna Wearing in honor of her mother, Elsie Replogle

Still’s From the Hearts of Women: Donated by Charlease Bobo in honor of her parents, Charles and Ann Bobo

Nielsen’s Clarinet Concerto: Donated by Anita Maresh

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First Violin*1 Cynthia Robinson

**Anita Maresh Kay WehoferTerri MoonSara Miller

Deborah Weltzer

Second Violin**Kelly Dean PilarcyzkAlexander Magalong

Lydia CampbellNathan Burns

Dan MastersonCharlease Bobo

Viola*Diana Zombola**Matthew CantyRebecca HarrisonBarbara Greenlee

Cello*Ramona McConkie

Norah ClydesdaleTori Bardin

Gerald Miller

String Bass *2 Cathy Camp-

DavidsonJoseph Head

Flute*Phyllis WhiteCheryl Stauffer

Oboe* Nancy Brown

Carla Scott

Bassoon* Shirley Plumer

John Lawson

Thomas WilsonConductor

The Players of the

Chamber Orchestra of the Springs

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

Timpani *Carl Cook

Trumpet*Bill Flitter

David Stroup

French Horn*Mat EvansKen Soper

Clarinet*Jay NormanAlan Siegel

HarpMegan Prahl

aurda ov 1 3 .m. Abendmuk oncer

unda ec .m. ke eak ue hor

315 Lake Avenue ● 31 ● www.broadmoorchurch.org

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FEATURED artistsRochelle Small Clifford, SopranoRochelle Small Clifford’s appearances have been many and varied, ranging from annual commemorations of September 11th in Manhattan Remembers 9/11 at Battery Park in New York City to an open air concert with the Harlem Philharmonic Orchestra at the Ulysses S. Grant Memorial. Her solo experiences have ranged from guest appearances with the Philharmonia Oltenia of Bucharest, Romania, in an evening of opera arias to a moving rendition of Barber’s Knoxville: Summer of 1915 with the Unity in Diversity Orchestra in New York City. The North Carolina Classical Voice Journal had this to say about her May 2009 performance with the North Carolina Master Chorale under the baton of Alfred E. Sturgis at Meymandi Concert Hall: “The suite of well-loved pieces

from Porgy and Bess, arranged skillfully by Robert Russell Bennett, was admirably suited to the fine voices of baritone Jason McKinney and soprano Rochelle Small Clifford. These talented singers, blessed with ringing, powerful voices that reached to the back of the hall, took pleasure in singing Gershwin’s passionate love songs to each other. In no time at all the audience was pulled into the deeply emotional connection between them, clearly conveyed by their body language and facial expressions.”

Born in Wichita, Kansas, Rochelle enjoys singing in English, French, German, Italian, Latin, and Spanish, and is equally at home in operatic and recital repertoire. She is a rostered artist with Harlem Opera Theatre, the Wagner Theatre and sings with Spiritus. Rochelle was recently honored with an Anacapa Fellowship from the prestigious Thacher School of Ojai, CA, where she spent the week guiding students on a journey to explore the artist within. Rochelle is the two-time recipient of the highly prestigious Koch Cultural Trust’s Promising Young Artist Award. Her greatest passion is sharing classical music with those who might not otherwise be exposed to it, and she was recently honored with Community Partnership Awards by Amber Charter and Adam Clayton Powell schools for her outreach work with Horizon Concerts. This fall, Rochelle joined the voice faculty of Centerstage Conservatory in New York City.

Rochelle appears with the Chamber Orchestra of the Springs as a Shivers Fund Artist.

Ian Buckpan, ClarinetPraised for his “wide range of tonal shadings and expressive nuances”, Ian Buckpan is poised to be a one of the leading clarinetists of his generation. Ian has received 1st place in numerous Young Artist competitions including the Denver Young Artist Orchestra’s ’08, Arapahoe Philharmonic’s ‘08, Boulder Philharmonic’s ’07, Rocky Ridge ’05, Plymouth Congregational Church Music Contest ‘03, and Colorado Flute Association’s Concerto Contest ’05. Most recently, he has been named a Yamaha Young Artist of 2009. He is on the Young Musicians of Colorado’s roster of young artists, capturing their Top Performer prize for the Non-Piano, College Division in ‘08. He has received 2nd place in Aurora Symphony’s Concerto Competition, Honorable Mention in Missoula Symphony Association’s National Young Artist Competition, and was a Finalist in both

CU-Boulder’s Honors Competition as well as Astral Artists National Auditions.

Ian has appeared as the featured soloist with such orchestras as the Boulder Philharmonic, the Arapahoe Continued on page 10

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Program Notes

By the age of thirty, his reputation was firmly established with Rienzi and Der fliegende Holländer (The Flying Dutchman). As a result, he was appointed Kapellmeister to the Saxon court in Dresden, where he worked on Lohengrin and Tannhäuser and made early sketches for The Ring and Die Meistersinger. He involved himself in the republican movement that was gaining popularity in Europe in the late 1840s, and when his participation was undeniable, an arrest warrant was issued in 1849. With the aid of Liszt, Wagner fled to Zürich, focusing his energies on writing essays, including his influential Artwork of the Future and Opera and Drama.

Also in this exile, he finished the libretti for the four Ring operas and started composing the music, but his work stopped when he fell in love (despite his marriage to Minna Planer) with Mathilde Wesendonck, the wife of one of his Swiss patrons. His thoughts on romance, he turned instead to Tristan und Isolde, which he hoped would achieve enough popularity to finance a new hall to stage The Ring. Before long, Wagner obsessed over yet another woman, Cosima von Bülow, Franz Liszt’s daughter and wife of conductor Hans von Bülow. Minna died in 1866, but Richard and Cosima had been living together two years already. In 1869, Cosima’s marriage was annulled and in 1870 she married Richard.

Meanwhile, “mad” King Ludwig II of Bavaria took a passionate interest in Wagner’s music and spared no expense in support of him. After much political intrigue, construction began in 1872 on the hall in Bayreuth that would be the ideal setting for The Ring. Four years later, the hall opened with the first performances of The Ring. Wagner’s final opera, Parsifal, was completed in 1882, and six months after the premiere, Wagner died of a heart attack while traveling in Venice.

At precisely 7:30 on Christmas morning in 1870, Cosima Wagner was awakened with familiar music played by a small orchestra inside her home. This was the first performance of Siegfried Idyll, with the musicians playing

Continued on page 11

He had one mistress to whom he was faithful to the day of his death: Music. Not for a single moment did he ever compromise with what he believed, with what he dreamed. There is not a line of his music that could have been conceived by a little mind. Even when he is dull, or downright bad, he is dull in the grand manner. There is greatness about his worst mistakes. Listening to his music, one does not forgive him for what he may or may not have been. It is not a matter of forgiveness. It is a matter of being dumb with wonder that his poor brain and body didn’t burst under the torment of the demon of creative energy that lived inside him, struggling, clawing, scratching to be released; tearing, shrieking at him to write the music that was in him. The miracle is that what he did in the little space of seventy years could have been done at all, even by a great genius. Is it any wonder that he had no time to be a man? –Deems Taylor

No composer ever polarized audiences like Richard Wagner (1813-1883). From the megalomania of the Bayreuth Festival, which Wagner founded himself in the small Bavarian town, to the detractors who see Wagner as longwinded or boring, to those who cite his Teutonic and anti-Semitic leanings as having paved the way for the rise of Nazism fifty years after his death, all listeners are left with a body of music that is undeniably original and inspired. The fact remains that Wagner was as complicated and elusive a man as his music.

Wagner’s family heritage has never been fully established. His father might have been Carl Friedrich Wagner or his mother’s lover, Ludwig Geyer. (This might be a reflection of the surprising number of characters in Wagner’s operas whose fathers are unknown to them—Siegmund, Siegfried, and Parsifal.) Carl Friedrich died a year after Richard’s birth, and his widow married Geyer. An actor and painter, Geyer raised Wagner in the environs of the theatre, so Richard was writing plays in his early teens. Wanting incidental music for his plays, Wagner studied composition, though his earliest works from his teenage years are mostly lost. He wrote his first opera, Die Feen, when he was twenty, while he was working in the theatre as a chorus-master.

Heart and Home

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FEATURED artists, continued

Philharmonic, and the Rocky Ridge Music Camp Orchestra is Estes Park, Colorado. He has also appeared with the Denver Young Artist Orchestra where he was hailed as a “solid performer and outstanding musician” as well as being noted for his “slow movement [that] was warm and mellifluous”.

Ian has extensive orchestral experience as well. He is currently Associate Principal and Eb clarinet of the Colorado Springs Philharmonic and has appeared with the Longmont Symphony, the Boulder Chamber Orchestra, the Colorado Mahlerfest Orchestra, and the University of Colorado Symphony Orchestra. He has joined CU Light Opera for the summers of ’06, ’07, and ’08. He has participated with the Denver Young Artist Orchestra for four seasons (DYAO), joining them on there ’03 tour of Austria and Hungary as well as their ’07 tour of Argentina.

He has also participated in DYAO’s chamber music program, The Young Chamber Players (YCP), with such coaches as Barbara Hamilton, Paul Primus, Dan Knopff and Tamara Goldstein. He has recorded the Beethoven Trio Op. 11 and the Brahms Clarinet Quintet with the YCP at KVOD Classic Music Radio recording studio.

His major teachers include Jim Travis, Marlena Burghardt, and Peter Cooper and he has earned a Bachelors Degree of Music at the University of Colorado at Boulder under Daniel Silver.

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Program Notes, continuedfrom memory on the staircase and Wagner conducting from the landing. Christmas was also Cosima’s birthday, and Wagner had chosen music from his Siegfried and interwoven the folk song Schlaf ’ mein Kind, schlaf ’ ein. Naturally, the household premiere was a great success and was even repeated several times the same day. Originally scored for flute, oboe, two clarinets, bassoon, two horns, trumpet and individual strings, Wagner later authorized performance with a full string section.

William Grant Still (1895-1978) was born in Woodville, Mississippi. His mother was a teacher and his father was a local bandleader. They were of mixed origin: African-American, Native Native American, Spanish and Anglo. His father died when William was a few months old and his mother took him to Little Rock, Arkansas where she remarried and taught high school English. Charles B. Shepperson, William’s stepfather, nurtured his musical interests by taking him to operettas, buying recordings of classical music, and paying for violin lessons.

Still attended Wilberforce University in Ohio, founded as an African-American school. He conducted the university band, learned to play various instruments and started to compose and orchestrate. He also studied with Friedrich Lehmann at the Oberlin Conservatory, George Whitefield Chadwick at the New England Conservatory, and with the ultra-modern composer Edgard Varèse.

Initially, Still composed in modernist style, but later merged aspects of his African-American heritage with traditional European classical forms. In 1931 his First Symphony was performed by the Rochester Philharmonic under the direction of Howard Hanson, making him the first African-American composer to receive such recognition. In 1936, Still conducted the Los Angeles Philharmonic, becoming the first African-American to conduct a major American orchestra.

In 1949, his opera Troubled Island was performed by the New York City Opera—the first opera by an African-

American to be performed by a major company. In 1955, conducting the New Orleans Philharmonic, he became the first African-American to conduct a major orchestra in the deep South. Additionally, he was the Recording Manager of the Black Swan Phonograph Company.

Between 1919 and 1921, Still worked as an arranger for W.C. Handy’s band and later played in the pit orchestra for Noble Sissle and Eubie Blake’s musical Shuffle Along. Later in the twenties, he served as the arranger of Yamekraw, a Negro Rhapsody composed by the noted Harlem Stride pianist, James P. Johnson. In the 1930s, Still worked as an arranger of popular music, writing for Willard Robison’s “Deep River Hour” and Paul Whiteman’s “Old Gold Show,” both popular NBC Radio broadcasts. Still eventually moved to Los Angeles, California, where he arranged music for films and television, including Pennies from Heaven (1936) and Lost Horizon (1937).

Still married Verna Arvey, a journalist and concert pianist, in 1939. They remained together until he died of heart failure in Los Angeles, California in 1978.

From the Hearts of Women (1961) is a suite of four songs for soprano and string orchestra with text by Verna Arvey. The lyrics highlight different phases of a woman’s life. The “Little Mother” of the first movement is a girl singing to her rag doll. In adolescence, the “Coquette” plays a game of flirtation. In middle age (“Mid Tide”), she reminisces coldly of her lost love and lost youth. “Bereft,” she sings as she nears the end of her life with painful memories of having lost her son, with the faintest reflections of the rag doll.

I. Little MotherBaby sweetheart, Baby darling,Baby on my knee!My sweetheart, Little angel,by my side the night long.Little playmate, Dear companion,with me through the day!‘Cause I love you,You will listen to the things I tell you.

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Program Notes, continuedBaby, please don’t be naughty now:You’ll get a spanking if you bad!Mommy tells you, be good,Stop your crying, and you’ll get a reward.Little playmate, Dear companion,with me through the day!‘Cause I love you,You will listen to the things I tell you.Daddy says you’re only a rag doll,but I know better.Now go to the sleep, andwhen you wake upwe’ll have more fun together.

II. CoquetteBy the sea, in the streets, at the ball,I go forth wanting romance, wanting fun.With a word, with a glance, with a gesture,I’m seeking someone to adore me.

When I find him I’ll greet him with pleasure.When I greet him I’ll wait for his smile.For in this game we’ll be partners,in this gay game of flirtation.

In the spring, in the fall, in the summer,I go forth wanting romance, wanting fun.In the light, in the dark, ‘neath the moon,I’m seeking someone to adore me.

When I find him I’ll join him in banter.In that moment I’ll look far afield.For in this game I seek new partners,Since the game is worth more than the prize.III. Mid TideGone are the years of my youth,Gone the fire in my soul.Empty my heart, empty my lifeNow only the waiting!

I can remember days full of sunlight,of joy, of laughter.I can remember the blessed moments,time shared, lives joined!

Gone are the things that I cherished,Gone all my dreams!Empty my thoughts, and the hoursthey used to fill—now only a blank wall!

I can remember vows made in faith,in warmth, in passion!I can remember each word of our pledge,our trust, our promise!Now lost.

Each tender moment I spent waitingthe sound of your voice!For gone in my love, gone my only love!

IV. BereftBy his bedside I sat with love in my heartAs I had sat long ago,in childhood to bring sleep to his eyes,but now to hold back the last sleep.My son departing for isles uncharted!My boy!His life an unvoiced thought,His future lost in the mist!I hoped, though there was no hope.Too soon died too!

Carl Nielsen (1865-1931) was born on the island of Funen in eastern Denmark, in a peasant community that was also the birthplace of Hans Christian Andersen. At fourteen, he played in a military band in Odense. A decade later, he joined the violin section of the Royal Theatre Orchestra in Copenhagen and, in 1890, won a scholarship to study in Dresden and Berlin, where he was influenced by the music of Wagner and Brahms. His First Symphony was premiered by the Royal Theatre Orchestra in 1894, solidifying his career as a composer.

The rest of his life was devoted to composition, with a lesser focus on conducting. His compositional output is dominated by his six symphonies, which have an

Continued on page 15

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improvisational character similar to Sibelius and have won increasing popularity in recent years. Nielsen suffered a serious heart attack in 1925 which slowed his creative pace, but he continued composing until his death in 1931.

After the premiere of his Wind Quintet (1922), Nielsen decided to write a concerto for each member of the quintet, but only completed concerti for flute and clarinet before his death. The Clarinet Concerto, written for the quintet’s clarinetist Aage Oxenvad shows a rather unusual side of Nielsen, reminiscent of the angular modernism of Stravinsky, with a solo clarinet part that demands a faultless technique. Completed August 15, 1928, it was first heard in a private concert at the summer home of Carl Johan Michaelsen, in Humlebaek, on September 14, with Oxenvaad as soloist and Emil Telmányi conducting. The same performers gave the premiere in Copenhagen on October 11 of that same year, when it met with a decidedly mixed reception. Since that time, it has gained much wider acceptance.

The Clarinet Concerto was conceived during the most difficult period in Nielsen’s life, which might reflect in a constant conflict between two tonalities—F Major and E Major. Every time hostilities seem to be at an end, a snare drum incites the combatants to renewed conflict. Another explanation for this is that Oxenvad had a bi-polar disorder, so Nielsen might have been poking fun at his constant mood swings.

Born in Bohemia, Antonín Dvořák (1841-1904) spent his uneventful younger days assisting his family and studying music whenever possible. A public scholarship enabled him to get a good education and made him a lifelong supporter of state arts funding and grants. Deeply influenced by the music of Wagner, Dvořák had the opportunity to play in a concert of Wagner excerpts led by the composer. Dvořák not only considered the experience life-changing, but even

followed Wagner in the streets, completely fascinated with him. Dvořák played viola in the Prague National Theatre Orchestra from 1864-1873. Bedrich Smetana became principal conductor in 1866, also having a powerful impact. Dvořák left the orchestra in 1873 to devote his life to composition, and his Third Symphony was premiered soon after, winning him the Austrian national prize and the attention of Johannes Brahms, who was on the jury. Two years later, Dvořák won the same prize with his Moravian Duets, but his Slavonic Dances would soon establish him as the most significant and most popular Czech composer. His fame and fortune on the rise, Dvořák found himself in a difficult position: Leading composers of the day were expected to live in Vienna, but he knew his folksy style would only bring ridicule among the polished Viennese. Under intense pressure from his publisher to move to Vienna, Dvořák luckily won a position as Professor of Composition at the Prague Conservatory, but quickly gave it up when he was offered a shockingly lucrative directorship of the National Conservatory of Music in New York in 1891. Once in the United States, Dvořák turned his attention primarily to Native American and African American music, which eventually culminated in his New World Symphony. In 1895, he returned to teach at the Prague Conservatory and became its director in 1901, and his sixtieth birthday was celebrated as a national holiday. His final years were spent working on tone poems and operas, though sadly only one of his operas—Rusalka—ever gained any popularity. He died of heart failure in 1904. The low opus number of his Czech Suite was a bit of deception by Dvořák, who disliked publishers and was evading an agreement for future works by pretending that this was an old one. It was probably written in 1879. All but one of the five movements contains elements of Czech folk dance.

Program Notes, continued

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Building a Better ColoradoAdvancing EqualityStrengthening Nonprofits

Chamber Orchestra of the Springs

2009-2010 Season

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Chamber Orchestra of the Springs Supporters

The following members of our 2009-2010 Season audience are as passionate about the activities of theChamber Orchestra of the Springs as are its players and Board of Directors. We offer them our heartfelt gratitude.

Season Underwriter: $5,000 to $9,999The Bee Vradenburg Foundation

Concert Sponsor: $2,500 to $4,999Colorado Springs Symphonic GuildThe Gay and Lesbian Fund for Colorado

Conductors Circle: $1,000 to $2,499Libby Rittenberg and Nasit Ari

Benefactor: $500 to $999Susan and Michael GraceThe Progressive Insurance Co.Norton BainSamuel and Mary Alice HallAnita MareshPamela T. MarshDr. and Mrs. Darryl ThatcherThomas G. Wilson

Sustainer: $250 to $499Charlease BoboRaymond and Barbara BrownSheldon and Betty JonesTerry and Elizabeth LillySara McDanielLisa and Bob Rennick

Supporter: $100 to $249Larry and Eve BarrettElizabeth BockstahlerWalter and Harriet BrooksJudy and Duncan BurdickDavid CampbellDr. Robert CarltonJudy and Chris CunninghamDr. and Mrs. Donald DickensonJudy Fair-SpauldingJoanna and Lindsay FischerAndrea FlakWalter and Esther HarderMr. and Mrs. Dunning Idle IVDan and Dorothy KautzmanDr. Lorence T. and Shirley KircherAlison and Duncan Kruse In Memory of Daniel KautzmanBonnie S. LinderAnita R. Maresh Dr. and Mrs. George L. Merkert Jr.Margorie J. MerrittLynne MillerMs. Betty J. RickelCol. Jim RynningColonel and Mrs. Charles ShayPeggy Houston ShiversEdie Green and Alan SiegelHerb and Rhea SiegelDarrell and Beverly WeaverDon and Marilyn WerschskyHarry and Louise Wilson

Friend: $1 to $99Barbara M. ArnestAnn AxelrodDavid BallMartha Hopkins BoothAnn BroshDale and Gundi BrunsonMrs. A.N. ChampionKathleen Fox CollinsKathleen CookePaul and Janet DavidsonPhyllis DeHartSteve D’Ippolite Timothy and Kalah FullerIngrid HartCoral and Kyle HealeyFrank and Elfriede JoppMarilyn KastelCherry and Jack KinneyMrs. Helene KnappPatricia LiptonRichard and Jean McChesneyMary Elizabeth McKinleyMs. Dion F. MercierStan MortonAnn J. NelsonJay NormanDeborah Perlet & Gloria Kondrk In Memory of Daniel KautzmanDavid and Barbara St. AndreJohn and Elaine SartorisWilliam TunstillEric UmenhoferMary C. Wieger

The Chamber Orchestra of the Springs makes every attempt to list our donors accurately. If your name was inadvertently omitted or listed incorrectly, we sincerely regret the error and ask that you contact us at (719)633-3649 or chamorch@gmail.com

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The Chamber Orchestra of the Spring is grateful to its 2009-2010 Season Ticket holders.

You represent our core audience and your numbers

reached a new record this year.

This year only, we would like to extend the Season Ticket opportunity (prorated as $60 Adults, $40 for Seniors, and credit given for gate

tickets bought for this concert) to those who missed our first concert due to inclement weather.

If interested please check at the box office.

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

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Chamber O rchestra of the SpringsUnmatched Elegance January 30-31, 2010

Franz Joseph Haydn Organ Concerto in C Major, Hob. XVIII:1Ottorino Respighi Ancient Airs and Dances, Suite IIIEdward Elgar Introduction and Allegro, op. 47 Veronika String QuartetFelix Mendelssohn Symphony No. 1 in C Minor, op. 11, “1824”

Virtuosity! February 27-28, 2010Wolfgang Amadeus Mozart Symphony No. 10 in G Major, K.74 (1770)Franz Joseph Haydn Sinfonia Concertante in B-Flat Major, Hob.I:105Jorge Cardoso Suite Indiana Dos Américas Guitar DuoCarl Maria von Weber Symphony No. 1 in C Major, J.50

Season Finale April 17-18, 2010Sean Schafer Hennessy Pikes Peak or Bust!Gabriel Fauré Ballade in F-Sharp Major, op. 19 Susan Grace, pianoLouis Moreau Gottschalk Grande Tarantelle for Piano & Orchestra, op. 67 Susan Grace, pianoLudwig van Beethoven Symphony No. 4 in B-flat Major, op. 60

Saturday Concerts 7:00 p.m.Broadmoor Community Church, 315 Lake Ave.

Saturday pre-concert lectures at 6:15 p.m.

Concert LocationsSunday Concerts 2:30 p.m.

First Christian Church, 16 E. Platte Ave.20

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The Colorado Springs Symphonic Guild, a proud supporter of the Chamber Orchestra of the Springs,

Cordially invites you to participate in our two upcoming fundraisers:

Nutcracker Boutique at all performances of The Nutcracker Ballet, Nov 27, 28, and 29. We sell nutcracker items and souvenirs with proceeds to the

Colorado Springs Philharmonic. This is your golden opportunity to do someholiday shopping and help support the Philharmonic at the same time.

Holiday Gala Dinner in an elegant setting. Save the Date: Saturday evening, December 5. Cost of $100 per person, ($60 tax deductible) includes a gourmet meal and

entertainment in a festive party atmosphere. Proceeds benefit symphonicmusic in the Pikes Peak region through our grant process.

For further information and an invitation, please call Rosemary Dalsaso at 473-7843.

For additional detailed program information visit our website at www.chamberorchestraofthesprings.org

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PICTURES AT AN

EXHIBITION NOV 14-15

Order now for best seating! 520-SHOW or csphilharmonic.org

HOLIDAY EVENTS

THE NUTCRACKER NOV 27-29

CHRISTMAS CLASSICS DEC 18 AND 20

NEW YEAR’S EVE DEC 31

CO LO R A DO S P R I N G S P H I L H A RMON I C

Thomas Wilson, conductor

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All Concerts at 3:00 p.m. at Coronado High School, 1590 W. Filmore St.Call for tickets or information 685-6468 or go to www.pikespeakphil.org

David RutherfordConductor

December 6“The Entertainment - Big and Small Screen”

Williams – Cowboys Overture • Herbert – Babes in Toyland March • Mouret – Masterpiece Theatre • Guaraldi - A Charlie

Brown Christmas • Williams – Star Wars Suite • Gounod – Funeral March of Marionette • Christmas Music

February 21“The Invited Guest”

Hamilton Harty - A Comedy OvertureElgar – Cello Concerto

featuring cellist Jurgen De LemosHovhannes – Mysterious Mountain (Symphony #2)

April 25“A Final Treat”

Liadov - Mazurka (Village Scene by the Inn) Holst - Somerset Rhapsody

Concerto Competition Winner TBDBrahms – Symphony #2

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634-4894319 S. Nevada

Colorado Springs, CO 80903

Chamber OrchestraOf T he Springs

P.O. Box 7911Colorado Springs, CO 80933–7911

(719) 633–3649www.chamberorchestraofthesprings.org

“For the Love of Music”

Colorado Springs Guitar Society Annual 2009 Members Concert

Friday, December 18thAll Souls Universalist Unitarian Church

730 N. Tejon, starting at 7:30 PM.

This concert will feature members of the society playing various solos and duets on the classical guitar, typically by

composers such as Fernando Sor, Francesco Tarrega, Heitor Villa-Lobos, Johann Sebastian Bach, and others.

Tickets are $5, and may be purchased at the door before the concert

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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; they are appropriately identified and acknowledged on page 17.

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 for...

Colorado Springs Symphonic Guild for their support of this concert seriesBlueprints, Inc. for printing services

Sylvia Hutson for her work with graphic design and layoutFirst 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 publicityTom Kratz for the use of the podium

Ruth Hjelmstad for professional assistance with accountingFirst Lutheran Church for use of their rehearsal space

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