28th Season 2011 - 2012 - Chamber Orchestra of the Springs

Chamber Orchestra
of the Springs
28 th Season 2011 - 2012
Season Premiere:
The American Scene
October 8 & 9, 2011
For the Love of Music
Thomas Wilson, Music Director

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Chamber Orchestra Of The Springs
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.
Officers:
Nasit Ari, President
Charlease Bobo, Past President
Michael Grace, Vice President
Emily Alexander, Secretary
Nicole de Naray, Treasurer
Trustees
Chuck Cabell
Rebecca Harrison
We wish to express our sincere appreciation to the following organizations:
Print Media Sponsor
“For the Love of Music”
H. CHasE stonE
trust
Board Of Trustees
Chamber Orchestra Of The Springs
P.O. Box 7911
Colorado Springs, CO 80933–7911
(719) 633–3649
www.chamberorchestraofthesprings.org
Trustees (continued)
Helene Knapp
Susan Loring
Pam Marsh
Jay Norman
Karen Peace
Christina Soper-Schwartz
Glen Whitehead
Sylvia Hutson, Administrative Manager
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J. H. Edmondson
Foundation

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Thomas Wilson
Music 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 Springs
Thomas Wilson, Music Director
Season Premiere: the American Scene
Satruday, October 8, 2011 Broadmoor Community Church
Sunday, October 9, 2011 First Christian Church
Kurt Weill Down in the Valley
Presented in Collaboration with the Colorado Springs Conservatory
Cast:
Leaders: Caroline Carr, Joelle Sostheim, CC Wells,
Carelyn Mayberry
Brack Weaver: Joe Mikolaj (CSC Faculty)
Jennie Parsons: Solveig Olsen (CSC Faculty)
The Preacher: Brian Harris ( CSC Alumni)
Thomas Bouche: David Musante
Guard: Timothy Gallagher
Peters: Tim Malloy
Jennie’s Mother: Katie Hogan
Women: Mariah George, Meme Hope, Jessi Crandall
Townsfolk: Natasha Hamilton, Sophie Foster, Aubrey Bishop,
Anna Mae Pond, Kelsy Wells, Tim Malloy, Katie Hogan,
Meme Hope, Mariah George, David Musante, Joelle Sostheim,
CC Wells, Jessi Crandall, Caroline Carr, Graham Gale,
Carelyn Mayberry, Janae Hansen, Zeke Magri, Sydney Epstein,
Maddie Ross
Intermission
Eric Ewazen Concerto for Violin and String Orchestra
I. Allegro con Brio
II. Andante sostenuto
III. Allegro molto
Jerilyn Jorgensen, violin
Aaron Copland Appalachian Spring (“Ballet for Martha”) Suite
Orchestral Version
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Sponsored Principal Trumpet Chair
The Principal Trumpet Chair is underwritten by Mrs. Mary Eiber and Mr. and Mrs. Dawn
and Charles Eiber-Thurmond in memory of husband and father Gary Eiber. Mr. Eiber was an
electrical engineer employed by Hewlett-Packard, later Agilent Technologies. Mr. and Mrs.
Eiber were happily married for nearly 40 years. Mr. Eiber enjoyed music and he was especially
fond of the trumpet. He loved to hear trumpeter Doc Severinson make music magic. Any
concert featuring brass was a huge success.
The Chamber Orchestra wishes to thank the Eiber family for their generosity in celebrating
Mr. Gary Eiber’s love of brass by underwriting the principal trumpet chair for the 2010-2011
season.
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Trombone
David Quintanar*
David Ellis
Clarinet
*Jay Norman
Heike Gazetti
Flute
*Phyllis White
Karen Morsch
First Violin
* 1 Jacob Klock
* 2 Kristen Kunkel
Terri Moon
Kay Wehofer
Sara Miller
Gregory Gershtyn
The Players Of The
Chamber Orchestra Of The Springs
French Horn
*Mathew Evans
Christina Schwartz-Soper
Bassoon
*Greg Brown
John Lawson
Oboe
*Nancy Brown
Carla Scott
Second Violin
*Katherine Jones
**Kelly Dean Pilarczyk
Jesse Mauer
Debbie Youngerman
Andrea Bullock
Charlease Bobo
Thomas Wilson
Conductor
†Chair underwritten by Mrs. Mary Eiber and Mr. And Mrs. Dawn and
Charles Eiber-Thurmond in memory of Gary Eiber
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Trumpet
* Glen Whitehead†
Dan Bell
Tenor Sax
Wayne Hoey
Alto Sax
Brad Eastin
Viola
*†Matthew Cantyl
Alexander Magalong
Dan Masterson
Rebecca Harrison
Timpani
*Carl Cook
Percussion
Eddie Dowdle
Jason Emory
Piano
Adam Torres
Harp
Rachel Ellins
Guitar
Wayne Wilkinson
String Bass
* Cathy Camp-Davidson
Joe Head
Cello
*Ramona McConkie
**Norah Clydesdale
Sabrina Baugh
Linda Tennies
* 1 Concert Master
* 2 Asst. Concertmaster
* Principal
** Asst. Principal
*† Acting Principal

Pre-Concert Lectures - Dr. Dennis Jackson
Dennis Jackson served on the voice faculty at the University of Colorado, Boulder for 31 years.
During that time he served as chair of the voice faculty and head of the opera program. During his
tenure as head of the opera department, the Colorado Commission on Higher Education awarded
the opera program a “Program of Excellence Award” – the only arts program at the university level
to receive such recognition. He established the Summer Music Festival 30 years ago and it is still
in existence. His “Lyric Theatre Singers” toured Japan, Korea, and the state of Colorado providing
outreach programs. For several years the Children’s Opera Program toured Colorado as well, providing
children the opportunity to see live opera.
In 2001 he retired from CU, Boulder and moved to Western Carolina University where he
established the Music Theatre Program as the Phillips Distinguished Professor of Music. Four
years ago he and his wife Chris returned to Colorado and established residence in Colorado Springs
where he has assisted the fund raising projects of Opera Theatre of the Rockies.
Jackson worked with such people as Pierre Bernac, John McCollum, Nathaniel Merrill, John Reed,
Dalton Baldwin, Martin Isepp and Vera Rosza. He has guest directed at Opera Colorado and
several universities, served as an assistant for San Diego Opera, and has given recitals in many parts
of the United States as well as England. He received his DMA from the University of Michigan.
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Featured Artists
Jerilyn Jorgensen is adjunct faculty in violin and chamber music
at the Lamont School of Music of the University of Denver and
a member of the performance faculty of Colorado College. From
1980-2004 she was first violinist of the Da Vinci Quartet, and
as a member of that ensemble she has performed throughout
the United States, been a prizewinner in the Shostakovich
International String Quartet Competition and finalist in the
Naumburg Chamber Music Competition, and appeared on PBS’s
NewsHour with Jim Lehrer. Her recordings appear on the Naxos
label. Her performances with the quartet have been praised as “…
abundant in feeling and fire” (Milwaukee Journal), “taut, confident
playing, brimming with thrust and color” (Los Angeles Times), and
as exhibiting “ease, authority, and thoroughgoing excellence” (San
Francisco Chronicle).
As a recitalist, in Beethoven’s “Kreutzer” Sonata she “played with
sensitivity to the rapidly changing expressive demands of the
music...an inspired performance….superbly played” (Estes Park Trail Gazette). The 2011-2012 season
includes concerts in Denver, Colorado Springs, Fort Collins, and Westcliffe, as well as in Laramie,
Wyoming. In addition, her live and studio solo performances are broadcast frequently on Colorado
Public Radio’s “Colorado Spotlight”.
Ms. Jorgensen has given master classes in violin and chamber music at the University of California
at Davis, University of Nevada at Las Vegas, Sam Houston State University, Kansas State University,
Simon’s Rock College, the University of Northern Colorado, and Colorado State University. She is
in demand as a pre-college teacher, counting among her present and past students several winners of
regional competitions, including the MTNA senior string competition. She is on the faculty of the
Lamont Pre-College Academy summer program and is the Artistic Development Coordinator for the
Colorado Springs Youth Symphony Association, where her responsibilities have included curriculum
design and teacher training for the Mozart Strings Project and sectional coaching and coaching oversight
for four orchestras. She is currently director of chamber music for the organization, managing coaching
and community performances throughout the year for five student chamber ensembles.
Ms. Jorgensen holds bachelor of music degrees from the Eastman School of Music and the Juilliard
School, and a master of music degree from Juilliard. Her major teachers have included Zvi Zeitlin,
Joseph Fuchs, and Leonard Sorkin. She has also worked with Burton Kaplan.
Ms. Jorgensen plays a beautiful violin from 1705 made by G.B. Rogeri.
11
Continued on page 12

Featured Artists
The Colorado Springs Conservatory offers students a plethora of performance opportunities to complement
their classroom studies in instrumental music, vocals and theater. Among its collaborations
with numerous distinguished, professional arts ensembles, is a very rich tradition with the Chamber
Orchestra. COS collaborations with the Colorado Springs Conservatory include the Menotti operas
Amahl and the Night Visitors, The Medium, The Telephone, and Martin’s Lie. During its 17-year history,
the Conservatory has also partnered with other artistic organizations including Ormao Dance Company,
the Colorado Springs Philharmonic, the Ballet Society of the Springs, Smokebrush, Central City
Opera and many more. Students and faculty of the Conservatory perform at over 100 community
events each year for the advancement and enrichment of the Pikes Peak Region. Among these are the
Colorado Springs Chamber of the Commerce, the Pikes Peak Humane Society, United Way, CPCD
Head Start, Urban Peak, Diversity Forum and many more civic and artistic organizations. In this way,
students are inspired, motivated, and challenged to reach their highest potential as artists and human
beings through arts immersion studies and community arts advocacy.
“Down in the Valley” has been performed several times over the years at the Conservatory; this is the
first with orchestra. “It is an excellent opportunity to show students how American folk music can
maintain its integrity and relevance through the brilliance of Kurt Weill. It is also fun to imagine how
the general public might have reacted to this piece having heard it for the first time over the radio as it
was originally intended,” says Linda Weise, Conservatory director. “Context is an integral part of any
performance project done at the Conservatory.”
Fall classes are underway in the Conservatory’s new home at 415 S. Sahwatch. To arrange a tour of the
new facility, request a public performance, Christmas Caroling or Singing Valentine, and to register for
spring classes please call us at 719-577-4556.
Would you like to support the
Chamber Orchestra of the Springs in a unique way?
Each season we have music to purchase for our various performances, and your sponsorship of a particular
piece of music will help the Chamber Orchestra build its library of great music for now and the future!
You may choose to purchase in honor or in memory of a loved one, or just because you love the Chamber
Orchestra! The following music for the 2011 - 2012 season is still available for purchase:
Felix Mendelssohn: Music from A Midsummer Night’s Dream $236
P.I. Tchaikovsky: Variations on a Rococco Theme $138
Camille Saint-Saens: La Muse et la Poete $178
Frederic Chopin: Andante Spianato and Grande Polonaise $51
Robert Schumann: Symphony #2 $375
Vincenzo Bellini: Oboe Concerto $208
For information about how you can purchase music for the
Chamber Orchestra call Phyllis White - 522-0153.
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Program Notes
Season Premiere: The American Scene
Kurt Weill: Down in the Valley
Overview: Composed
by Kurt Weill (1900
D e s s a u , G e r m a n y -
in the series, set to begin in 1945, but the radio
idea fell through when sponsors got squeamish;
even accessible opera was seen as too esoteric for
1950 New York City) American audiences. The original version of Down
in 1945, with a libretto in the Valley, recorded with Maurice Abravanel
by Arnold Sundgaard,
and originally conceived
for radio.
conducting but never broadcast, was a mere twenty
minutes. When the music publisher Schirmer
approached Weill for a school opera, Weill
Why It Matters: Down in the Valley was an
important part of the movement to make
opera accessible to Americans through radio
and television. Although it was overlooked
for years, it is one of the best, and the only one
incorporating traditional American tune.
I have never acknowledged the difference between
serious music and light music. There is only good
music and bad music.—Kurt Weill
simplified the piece somewhat but also expanded
it to nearly forty minutes. It was this version that
was premiered in 1948 and remains the definitive
version today. It was an immediate success. NBC
television would broadcast it in 1950, firmly
establishing it as an essential American opera.
Weill wanted Down in the Valley to speak to
Americans in their own language, so he incorporated
three well-known American tunes—“Down in the
Valley, “The Lonesome Dove,” and “Hop Up, My
With the rise of radio, many opera lovers
saw the medium as a way to bring opera to new
audiences. Limited radio stations and broadcast
time, especially in rural areas, meant that full
broadcasts of lengthy operas were not a viable
option. New operas, preferably in English and
with familiar plots and music, would be needed
to introduce Americans to opera in an accessible
way. Composers like Samuel Barber, Gian Carlo
Menotti, and Kurt Weill made accessible American
opera a top priority.
Ladies”—in the score, while shaping many of his
original melodies to emulate American folk song.
He managed to make the opera challenging for
the orchestra and lead singers while building in
lesser roles for student vocalists and speaking roles
for non-musicians, making this one of the most
accessible and inclusive operas. He also gave specific
instructions in the score for concert performance as
well as staged and semi-staged productions, always
leaving the possibility of simpler productions for
organizations with fewer resources.
The idea of a series of radio operas came Synopsis:
from New York Times music critic Olin Downes The opera begins with the traditional
and businessman Charles McArthur. Down in American song “Down in the Valley.” It is the
the Valley, with music by Weill and a libretto night before Brack Weaver is to be executed.
by Arnold Sundgaard, was to be the first opera The Leader calls the townspeople together to tell
13
Program notes continue on page 14

Program Notes, continued
Brack’s story as the music draws the audience to
Brack on his last night in jail. Dismayed that the
girl he loves, Jennie Parsons, has not answered his
last letter, Brack decides to bust out of jail. He
finds her on her porch at 2:00 AM, sleepless at
the idea of his execution the next morning. Brack
whistles for Jennie, who joins him in the woods.
Explaining that her father would not let her
write, Jennie declares her love for Brack. In his
happiness, he recalls their first “date,” when they
walked home from a prayer meeting. The scene
shifts back one year as the story is told.
Arriving at Jennie’s house after the prayer
meeting, Brack asks Jennie to the dance at Shadow
Creek; Jennie happily accepts. Entering her house,
Jennie is confronted by her father and Thomas
Bouché—a notoriously shady businessman and,
unfortunately, Jennie’s father’s creditor. Bouché
asks Jennie to the dance and she tries to decline,
but he says he will return later for her answer and
subtly threatens her. When Bouché leaves, Jennie’s
father presses her to accept Bouché’s invitation,
believing that Bouché will help him financially if
Jennie accepts. When Jennie refuses, her father
forbids her to attend the dance with anyone else.
Jennie opts to meet Brack at the dance
to honor her father’s wishes. Brack takes Jennie
aside and declares his love for her, but a drunken
Bouché arrives and orders Brack to get away from
“his woman.” Bouché pulls a knife and a fight
ensues. Bouché is killed by accident, but Brack
knows that, in a small town, the death of a wealthy
man is a very serious thing, so he flees, only to be
apprehended and imprisoned.
The flashback ends. Jennie and Brack
are together in the woods as search parties move
all around, looking for him. Jennie begs Brack to
run, but he knows he will get caught eventually.
14
He decides to spend his last few moments with the
woman he loves before he is apprehended. From
his jail cell, he sings a verse of “Down in the Valley”
as Jennie and the townspeople sing outside.
About Kurt Weill: Kurt Julian Weill
(March 2, 1900 – April 3, 1950) was born in
the “Sandvorstadt,” or Jewish Quarter of Dessau,
Germany. His father was a church cantor, and
Weill displayed musical talent at an early age. He
started composing at 13 and then entered the
Berliner Hochschule für Musik when he was 18,
studying composition with Wagnerian composer
Engelbert Humperdinck and also studying
conducting. The hardships of World War I led
him to abandon his formal studies so he could
work as a vocal coach to earn money to support
his family. This period was also very productive,
as he started composing some of his first largescale
works. He returned to Berlin in 1920 to
study with Ferruccio Busoni and worked as a
pianist in a tavern. He quickly made friends with
other intellectuals in Berlin, leading to a period
of remarkable productivity and his most popular
success, The Threepenny Opera (1928) featuring
the hit song “Mack the Knife.”
Weill would become a target of the Nazis
for his intellectual views and Jewish heritage, so he
fled to Paris in 1933, London in 1935 and then on
to the United States later that year. Closely studying
American styles, Weill opted to write for Broadway,
winning the inaugural Tony Award for Best Original
Score. He joined the civil service during World War
II, serving as an air raid warden and writing songs
in support of the war effort. He became a United
States citizen in 1943. He would continue writing
for Broadway, Hollywood films, radio and television
until his death from a heart attack in 1950.

Program Notes, continued
Eric Ewazen: Violin Concerto
Overview: Eric Ewazen
was born: March 1, 1954,
in Cleveland, Ohio.
Work Composed: 1997,
commissioned by the
Orchestra of St. Luke’s
Why It Matters: Ewazen’s
Violin Concerto is
one of many pieces he has written for diverse
solo instruments and orchestra. Today’s performance
is the local premiere. His energetic and
accessible style has made him one of the most
recognized living American composers.
Eric Ewazen’s tenure as composer-in-residence of
the Chamber Orchestra of St. Luke’s (New York
City) was extremely productive, with the Concerto
for Violin and String Orchestra probably the most
popular piece from that collaboration. It was
premiered in May, 2000, with violin soloist Krista
Feeney. Ewazen, whose compositional output in
his early years was mostly for brass instruments,
wanted to explore the expressive possibilities of
the violin. He describes the piece as follows:
“The first movement has a crackling
energy, with dynamic, sweeping gestures in
both the solo part and the accompanying string
15
orchestra. Dramatic, rhapsodic motives are tossed
back and forth and agitated accents permeate
the movement. The energy creates a non-stop
momentum through to the final chords, although
there are moments of playfulness which contrast
the more aggressive main themes. The second
movement is a plaintive adagio, with the solo violin
singing a somber, lyrical line. Contemplative
and melancholy, this melody becomes the basis
for a variation form in which it becomes ever
more embellished and dramatic. A climactic
middle section and quasi-cadenza lead to a final
whispered statement of the opening theme. The
final movement has a joyful energy. Contrasting
the first two movements with their predominantly
minor modes, the last movement is primarily
sunny and bright with major modes and themes
which skip and dance.”
About Eric Ewazen: Eric Ewazen received
his formal musical training at the Eastman School
of Music and the Julliard School, studying with
Milton Babbit, Samuel Adler, Warren Benson,
Joseph Schwantner and Gunther Schuller. He
joined the faculty at Julliard in 1980 and remains
there today, also serving as a guest lecturer for
other schools and the New York Philharmonic’s
Musical Encounters Series.
Program notes continue on page 16
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!

Program Notes, continued
Aaron Copland: Appalachian Spring
Overview: Aaron
Copland was born:
November 14, 1900
in Brooklyn, New
York and died December
2, 1990, in
North Tarrytown,
New York.
Work Composed: 1943 – 1944, commissioned
by Martha Graham and originally for 13 instruments
Why It Matters: Winner of the 1945 Pulitzer
Prize for Music, Appalachian Spring is the
quintessential American orchestral work, incorporating
the famous “Shaker Hymn” (“Simple
Gifts”) and beautifully capturing the spirit and
traditions of early America
Inspiration may be a form of super-consciousness, or
perhaps of sub-consciousness—I wouldn’t know. But
I am sure it is the antithesis of self-consciousness.—
Aaron Copland
Following the success of Rodeo, Aaron
Copland was commissioned by Martha Graham
(with funds from the Coolidge Foundation
headed by Elizabeth Sprague Coolidge) to write
what Graham called “music for an American
ballet.” Copland set to work with no particular
story in mind, included the famous Shaker hymn
“Simple Gifts,” and trusted Graham to figure
out the rest, saying, ‘She’s unquestionably very
American; there’s something prim and restrained,
simple yet strong, about her which one tends to
think of as American.” The original version was
for a small ensemble of thirteen instruments.
Graham, inspired by a poem by Hart Crane that
had nothing to do with Shakers, choreographed
the piece and called it Appalachian Spring. It was
an instant success and the music would quickly be
16
given the same name.
Appalachian Spring tells the story of a
young farmer and his bride-to-be on their wedding
day. The young couple deals with their excitement
and apprehension at getting married, while older
neighbors poke fun at their insecurities and try to
calm their nerves. After the wedding, a revivalist
preacher and his followers arrive, preaching about
hell and damnation. The wedding party rejects
this disturbing message, turns from the revivalists
and sings, “’Tis a Gift to Be Simple.” At the
end, the young couple enters their new home,
optimistic and ready to start their new life.
In 1945, Copland re-orchestrated
Appalachian Spring in the version for full orchestra
that is generally known today. Though almost
universally referred to as “Appalachian Spring,”
Copland called it “Appalachian Spring Suite,”
noting the nine minutes of music cut from the
original. Instead of the usual multitude of cuts,
removing primarily choreographic music to create
a suite for concert hall performance, Copland
made one cut—the entire revivalist preacher scene.
Many consider this unfortunate, as it changes the
meaning of “Simple Gifts,” discarding the message
of a strong belief in simple faith and exchanging
it for a statement of faith alone. In 1954, Eugene
Ormandy asked Copland to expand the Suite
to include the missing music. This version was
recorded by Michael Tilson Thomas and the San
Francisco Symphony in 1999, but the sheet music
remains unavailable for use by other orchestras.
About Aaron Copland: Aaron Copland
was born on November 14, 1900 in New York
City. His musical works ranged from ballet and
orchestral music to choral music and movie scores.
For the better part of four decades Aaron Copland
was considered the leading American composer.
Copland learned to play piano from

Program Notes, continued
an older sister and then quickly went through a
series of piano teachers, learning different skills
from each of them. By the time he was fifteen
he had decided to become a composer. His first
tentative steps included a correspondence course
in writing harmony. In 1921, Copland traveled
to Paris to attend the newly founded music school
for Americans at Fontainebleau. He was the first
American student of the brilliant teacher Nadia
Boulanger. After three years in Paris he returned
to New York with his first major commission—an
organ concerto for the American appearances of
Madame Boulanger. His Symphony for Organ
and Orchestra premiered at Carnegie Hall in
1925.
Copland’s growth as a composer mirrored
important trends of his time. After his return from
Paris he worked with jazz idioms in his Piano
Concerto (1926). His Piano Variations (1930)
was strongly influenced by Igor Stravinsky’s
Neoclassicism.
Are you searching for
something deeper?
Do you seek a spiritual experience that values
both emotion and reason, both heart and mind?
Do you love beautiful music, beautifully played?
In 1936, he moved toward a simpler style.
He felt this made his music more meaningful to
the large music-loving audience created by radio
and the movies. His most important works during
this period were based on American folklore
including Billy the Kid (1938) and Rodeo (1942).
Other works during this period were a series of
movie scores including Of Mice and Men (1938)
and The Heiress (1948).
In his later years, Copland’s work reflected
the serial techniques of the so-called 12-tone
school of Arnold Schoenberg. Notable among
these was Connotations (1962) commissioned for
the opening of Lincoln Center.
After 1970, Copland stopped composing,
though he continued to lecture and conduct
through the mid-1980s. He died on December 2,
1990 in North Tarrytown, New York.
If you’d like to know more about First Christian Church, check out our website at:
http://www.firstchristiancos.org.
If you’d like to talk, call senior pastor Chuck Blaisdell at 719/633-8888 x. 207
or e-mail him at seniorpastor@firstchristiancos.org.
Upcoming concert at FCC: February 17 13, 3:00 p.m. Chamber music played by
members of the Chamber Orchestra of the Springs and Friends. Free will offering.

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pikes peak
philharmonic
Concert i:
Celebrating Dance
and Lyrical Romance
October 23, 2011
Rossini • Bizet
Puccini • Khachaturian
Schubert • Marquez
• 3:00 p.m. • Sand Creek High School
7005 N. Carefree
Call 685-6468 for tickets or information, or
go to www.pikespeakphil.org
Two Sunday Services
9:00 and 11:00 a.m.

Chamber Orchestra of the Springs Supporters
The 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 & up
Inasmuch Foundation
Bee Vradenburg Foundation
25th Anniversary Fund
Concert Sponsor $2,500 to $4,999
J. P Morgan Foundation
Colorado Creative Industries
Herman Tiemens II &
Charlotte Maier
Conductors Circle $1,000 to $2,499
Libby Rittenberg and Nasit Ari
Norton Bain
Michael and Susan Grace
The Dusty and Kathy Loo Fund
Pikes Peak Community Foundation
John Carter and Virginia Snow
Henry Joseph Edmondson
Foundation
Benefactor: $500 to $999
Mary Eiber
In memory of Gary Eiber
Samuel & Mary Alice Hall
Walter & Esther Harder
Helene L. Knapp
Terry & Elizabeth Lilly
Anita Maresh
Dr. Stephen & Pamela Marsh
The Progressive Insurance Co.
Bob & Lisa Rennick
Peggy Houston Shivers
In memory of Clarence Shivers
Margaret Smith
Darryl and Terry Thatcher,
Pikes Peak Community Foundation
Verizon
Sustainer: $250 to $499
Charles and Annie Ruth Bobo
Raymond and Barbara Brown
Chuck and Hallie Cabell
Jane Dillon
Jeff Marshall and Shawn Finnegan
Richard and Sandra Hilt
Dr. Susan Rae Jensen
Helene Knapp
Doris Kneuer
Sara McDaniel
Lynne Miller
Col. Jim Rynning
Jeanna Wearing
in loving memory of her mother,
Elsa Replogle
Mrs. Barbara Webb
Allen and Gloria Wendt
Julianna Whigham
Phyllis V. White
Thomas G. Wilson
Supporter: $100 to $249
Larry and Eve Barrett
Karen Bates
Charlease Bobo
Elizabeth Bockstahler
Ann Brosh
Mary Margaret Brummeler
Duncan and Judith Burdick
Dr. & Mrs. Robert E. Carlton
Judy and Chris Cunningham
Paul and Janet Davidson
Dr. and Mrs. Donald D. Dickenson
Judy Fair-Spaulding
Joanna & Lindsay Fischer
Eugene and Jolinda Grace
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
19
Supporter:, continued
Carla and Jim Greenhalgh
Dunning and Mary Idle
Lynn A. Johnson
Dorothy Kautzman
In memory of Daniel Kautzman
Shirley E. Kircher
Bonnie and Dave Linder
Mary Elizabeth McKinley
Cherry and Jack Kinney
Oliver S. and Gerda Nickels
Charles and Jane Merritt
Betty Jane Rickel
Herb & Rhea Siegel
John F. Slattery
Joan Strating
Charles Guy Theriot
Deb and Lonny Weltzer
Don and Marylin Werschky
Harry and Louise Wilson
Friend: $1 to $99
Michael and Susanne Anselmi
Barbara M. Arnest
Ann Axelrod
Phyllis E. Baker
William S. Becker
Judith Benton
Judy B. Biondini
Martha Booth
Dale & Gundi Brunson
Mrs. A.N. Champion
J. A. Champion
Kathleen Fox Collins
Andrew and Nicole de Naray
Phyllis DeHart
Dorothy Farthing
Supporters continue on page 20

Chamber Orchestra of the Springs Supporters
Friend, continued
Elaine Freed
Timothy & Kalah Fuller
Don & Barbara Gazibara
Adam and Alicia Gold
Judith Greist
Sherry L. Hall
Ingrid Hart
Lynne Hurst
Donald and Gwendolyn Jenkins
Ronald and Sandra Johnson
William Johnson
Frank and Elfriede Jopp
Marilyn Kastel
Harriet Kidd
Mary Koepp
Deborah Perlet and Gloria Kondrk
Sharon La Mothe
John and Linda LeFevre
Patricia Lipton
Barbara Logan
Helmut & Joyce Maile
Richard & Jean McChesney
James Terry and Judith McIntire
Ms. Dion F. Mercier
Dr. and Mrs. George Merkert
Carol Montgomery
Kate Myers
The Rev’d Ann J. Nelson
Fred and Mary Jean Nelson
Lisa Noll
Jay Norman
Arthur & Baerbel O’Connor
Wanda Oelrich
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Ronald & Marie Pfister
Denis and Beverley Pirio
Patricia Plank
Lynda Ward Schedler
Colonel & Mrs. Charles Shay
David & Barbara St. André
Joyce and Steve Stivers
Robert H. Taylor
Frederica A. Thrash
William Tunstill
Karen Wagner
Mary C. Wieger
B. June Williams
Nicholas Wilson
Anonymous (2)

2011 - 2012 - Our Twenty-Eighth Season Continues
Lyricism and Timeless Beauty: November 19 & 20, 2011
Ralph Vaughan Williams Five Variants of “Dives and Lazarus”
Richard Strauss Horn Concerto No. 2 in E-Flat Major
Michael Yopp, horn
Vincenzo Bellini Oboe Concerto in E-Flat Major
Guy Dutra-Silviera, oboe
W. A. Mozart Symphony No. 40 in G Minor, K550
A program spanning nearly 150 years of the most beautiful music ever written is the Chamber Orchestra’s last
full-scale offering of 2011. The haunting Five Variants of Dives and Lazarus is a must-hear, and outstanding
wind soloists Michael Yopp and Guy Dutra-Silviera bring their refined lyricism to a program rounded out by
Mozart’s elegant Symphony No. 40 in G Minor.
Midsummer in Midwinter: February 4 & 5, 2012
Felix Mendelssohn Music from A Midsummer Night’s Dream
Intermezzo, Nocturne, and Scherzo
P.I. Tchaikovsky Variations on a Rococo Theme, op. 33
Barbara Thiem, cello
Ludwig van Beethoven Symphony No. 2 in D Major, op. 36
Celebrated cellist Barbara Thiem of the Colorado State University faculty joins the Chamber Orchestra for
Tchaikovsky’s Variations on a Rococo Theme. Let the cold winter melt away with Mendelssohn’s inspired music for
Shakespeare’s “A Midsummer Night’s Dream” and Beethoven’s Second Symphony, which caused a heated uproar
with his Viennese critics.
Unanswered Questions: March 3 & 4, 2012
Ernest Bloch Concerto Grosso No. 1 for Piano and Strings
Clara Schumann Piano Concerto in A Minor, op. 7
Susan Grace, piano
Charles Ives The Unanswered Question
Igor Stravinsky Pulcinella Suite
Great enigmas from the orchestral repertoire come together in a diverse and fascinating program. Bloch’s
evocative Concerto Grosso No. 1 appears neo-Baroque in its title and form, yet contains some of his most
haunting musical imagery, while Ives’ The Unanswered Question plunges us into his deepest contemplations.
Clara Schumann’s underperformed piano concerto is brought to us by favorite local piano artist Susan Grace.
The program closes with Stravinsky’s “Pulcinella Suite”, wherin he set out to compose pure music in the
tradition of Mozart.
Season Finale, Voice of the Romantic: May 5 & 6, 2012
Camille Saint-Saëns La Muse et le Poète
Jacob Klock, violin & Ramona McKonkie, cello
Frideric Chopin Andante Spianato and Grande Polonaise, op. 22
Angelina Gadeliya, piano
Robert 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 Muse and Poet.
Schumann’s inspiring Second Symphony brings our 28th season to a close in pure joy.
Season and Single tickets may be purchased
by calling the Chamber Orchestra office at (719) 633-3649
21

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 facilities
Graner Music for distribution of sheet music
KCME-FM 88.7, A Voice for the Arts, for concert publicity
Ruth Hjelmstad for professional assistance with accounting
Grace Episcopal Church for use of their rehearsal space
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The Chamber Orchestra Volunteer Corps
Last season, the COS board inaugurated a Volunteer Corps of patrons who would be willing to
volunteer when called if it would be convenient for them. We applaud the 48 patrons who signed on
and thank them for their support. See the list below. If your name is not on the list, please consider
signing on at one of our concerts this year. Last year, our volunteers greeted at the Previews, ushered
and passed out programs at the concerts, assisted orchestra personnel assembling this year’s music
scores, helped with the orchestra set-ups at both venues, helped at our June garden party, and at the free
Summer symphony in September. We hope all the present volounteer corps members have purchased
their season tickets and encourage them to invite friends and neighbors to join in our 2011-2012
exciting season. For more information, please call one of the co-chairs: Helene Knapp, 576-1814 or
Pam Marsh, 634-6171.
Carlota Anderson
Phyllis Baker
Larry Barrett
Judy Biondini
Marti Booth
Fred Boswell
Victoria Boswell
Chuck Cabell
Hallie Cabell
Inge Cordova
Nanette Demaree
Nicole DeNaray
Esther Harder
Carole Harper
Jerianne Heimendinger
Melanie Helton
Gisela Hemphill
Ginny Holloman
Pat Hudson
Amy Kligerman
Mary Koepp
Sharon LaMothe
Nancy Langstaff
Dick Langstaff
23
Betty Lathrop
Eric Leeper
Susan Loring
Scott Loring
Pam Marsh
Charles Merritt
Sheri Morse
Mary Jean Nelson
Gerda Nickels
Oliver Nickels
Beverly Pirio
Nancy Pittman
Gay and Lesbian Fund for Colorado
Matching Grant for
Amahl and the Night Visitors
Betty Rickel
Libby Rittenberg
Charles Schnetzer
Peggy Shivers
Patricia Staubo
Barbara Teske
Marta Wallin
Kenneth Webb
Alan Wendt
Gloria Wendt
Julie West
Mary Wieger
The Chamber Orchestra of the Springs has received a special $4,000 matching grant to support
their upcoming collaborative performance with the Colorado Springs Conservatory of the Amahl
and the Night Visitors. This timeless holiday treasure creates an accessible introduction to opera
and will be presented as a gift to our community in December 2011. Your donations to the
Chamber Orchestra will be matched one-to-one by this generous grant. Please consider supporting
this holiday performance with a special tax deductible match-donation.