Click Here For Concert Program - Chamber Orchestra of the Springs

Chamber Orchestra
of the Springs
29 th Season 2012 - 2013
Voyage on the Winds
November 17-18, 2012
For the Love of Music
Thomas Wilson, Music Director

Fully invested in the performing arts
Deron Hickman
Financial Advisor
Vice President – Investments
Cher Ford
Financial Advisor
Vice President – Investments
Proud to sponsor the Chamber Orchestra’s
2012-2013 concert season
Wells Fargo Advisors
90 S. Cascade Avenue, Suite 300
Colorado Springs, CO 80903
719-577-5365 • herman.tiemens@wellsfargo.com
Investment and Insurance Products: u NOT FDIC Insured u NO Bank Guarantee u MAY Lose Value
Herman Tiemens II, MBA, CFP ®
Senior Financial Advisor
Vice President – Investments
David Villafuerte, MBA
Financial Advisor
Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company.
©2012 Wells Fargo Advisors, LLC. All rights reserved. 1112-00471
2
Tiemens-Program-Ad_6x7.5_4D.indd 1 11/9/12 9:02 AM

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.
Nasit Ari, President
Charlease Bobo, Past President
Michael Grace, Vice President
Nicole de Naray, Treasurer
Helene Knapp, Volunteer Coordinator
Susan Loring, Dir. of Educational Outreach
We wish to express our sincere appreciation to the following organizations:
H. CHasE stonE
trust
J. H. Edmondson
Foundation
“For the Love of Music”
Board Of Trustees
Roslyn Block, Dir. of Community Relations
Chuck Cabell
Pam Marsh
Christina Soper-Schwartz
Glen Whitehead
Sylvia Hutson, Administrative Manager
The Hester & Edwin
Giddings
Foundation
Chamber Orchestra Of The Springs
P.O. Box 7911
Colorado Springs, CO 80933–7911
(719) 633–3649
www.chamberorchestraofthesprings.org
3
John G. Duncan
Charitable Trust

5
Thomas Wilson
Music Director
Thomas Wilson is currently Music Director of the
Chamber Orchestra of Colorado Springs (known locally as
“Chamber Orchestra of the Springs”), Associate Conductor
of the Colorado Springs Philharmonic, and serves on the
music faculties at Colorado College and the Colorado
Springs Conservatory. He maintains an active schedule
of guest conducting and composing, and is an arranger
and orchestrator for several studios and prominent solo
artists.
Thomas began studying piano at the age of four. Later
studies included trumpet, percussion, string bass, voice,
conducting and composition. He holds degrees from the
University of Northern Colorado, where he graduated
summa cum laude and received the School of Music’s
highest honor—the Departmental Scholar Award—and
from Colorado State University.
A strong advocate of collaboration and crossover in the
arts, which he views as essential to strengthening arts organizations and music education, Thomas has
been a tireless advocate for new music, blending of styles and artistic genres, and creating new and
meaningful opportunities for young musicians. His performances and recordings reflect this diversity.
Thomas has been called “someone to watch” and “a very exciting conductor” by Michael Tilson Thomas,
one of the foremost conductors of our time.
The Chamber Orchestra of the Springs
Acknowledges With Great Thanks Music Donations Made For This Concert:
Wolfgang Amadeus Mozart: Clarinet Concerto in A Major, K. 622
Donated in honor of Jay Norman in appreciation for his dedication to
performance and teaching, with gratitude from the Bigbee family
Johannes Brahms: Variations on a Theme of Haydn, op. 56a
A gift from Virginia Snow and John Carter

Looking for an easy way to stay informed about
88.7 KCME-FM’s programming and local arts events?
KCME’s E-newsletter, Classical Matters, is your solution!
Sign up today at www.KCME.org.
Listener Supported Public Radio
1921 North Weber Street, Colorado Springs, CO 80907
phone 719.578.5263 800.492.5263 www.KCME.org
Colorado Springs/Manitou Springs/Pueblo - 88.7 FM • Woodland Park - 93.5 FM
Salida/Buena Vista - 88.1/89.5 FM • Cripple Creek/Victor - 89.5 FM
Canon City/Florence - 91.1 FM • Summit County - 89.3 FM
follow us on
6

Chamber Orchestra Of The Springs
Thomas Wilson, Music Director
Season Premiere:Voyage on the Winds
November 17 & 18, 2012
Ludwig van Beethoven Egmont Overture, op. 84
(1770 – 1827)
Max Reger Hermit Playing the Violin, from Four Böcklin Poems
(1873 – 1916) Jakob Klock, violin
Wolfgang Amadeus Mozart Clarinet Concerto in A Major, K. 622
(1756 – 1791) I. Allegro
II. Adagio
III. Rondo: Allegro
Ian Buckspan, clarinet
INTERMISSION
John Corigliano Voyage for Flute and Strings
(b. 1938) Paul Nagem, flute
Johannes Brahms Variations on a Theme of Haydn, op. 56a
(1833 – 1897) Chorale St. Antoni
Variation I: Poco più animato
Variation II: Più vivace
Variation III: Con moto
Variation IV: Andante con moto
Variation V: Vivace
Variation VI: Vivace
Variation VII: Grazioso
Variation VIII: Presto non troppo
Finale: Andante
Movements played without pause.
Please help us save paper and money by recycling your program back to the COS concert staff at the end of the
Saturday evening 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!
7

French Horn
*Stephenie Osman
Christina Schwartz-
Soper
Ken Soper
Erin Powers
Flute
*Phyllis White
Karen Morsch
First Violin
* 1 Jacob Klock
Dagmar Mock
Ryan Stauffer
Sara Miller
Ingri Fowler
Gregory Gershtyn
Elizabeth Greenberg
* 1 Concert Master
* 2 Asst. Concertmaster
* Principal
** Asst. Principal
*† Acting Principal
The Players Of The
Chamber Orchestra Of The Springs
Bassoon
*John Lawson
Paul Ruff
Piccolo:
Sandra Tiemens
Second Violin
*† Kelly Dean Pilarczyk
Debbie Youngerman
Jesse Mauer
Kadin Kostelic
Andrea Bullock
Charlease Bobo
Deborah Falco
Contrabassoon
Deborah Torp
Thomas Wilson
Conductor
8
Trumpet
*Glen Whitehead
Dan Bell
Oboe
*Angie Burtz
Carla Scott
Viola
*†Matthew Canty
Dan Masterson
Rebecca Harrison
Karla Powers
Michael Hart
Percussion
*Carl Cook
Chris Lundberg
Clarinet
*Jay Norman
Heike Gazetti
String Bass
*Jay McGuffin
Jan-Erik Hagglund
Cello
*†Pamela Chaddon
**Veselka Kuzma
Emma Patterson
Timothy Ogilvie

Featured Artists
Jacob Klock, violin
Jacob Klock started playing the violin when he was six years old after
being inspired by Walt Disney’s “Fantasia”. He began his orchestra
career in the eighth grade when he was asked to be a violinist in the
Pueblo Symphony Orchestra. At the age of 19, he became Assistant
Concertmaster of the Chamber Orchestra of the Springs. Within
a year, he joined the second violin section of the Colorado Springs
Philharmonic. Now 25 years old, Jacob is a full-time member of the
Philharmonic and serves as Concertmaster of the Chamber Orchestra of the Springs. As a high
school senior, he performed the Paganini Violin Concerto No. 1 with the CSU-Pueblo Orchestra.
In a master class setting, Jacob has performed for Pinchas Zuckermen, Peter Oundjian and the
Kronos Quartet. Additionally, he was a member of the winning ensemble in the 2008 Lamont
School of Music Chamber Competition. Jacob’s teachers include Karine Garibova at CSU-Pueblo
and Linda Wang at University of Denver’s Lamont School of Music. When not playing the violin,
Jacob enjoys performing with various ensembles (jazz, bluegrass, ska, metal) on many instruments,
including trumpet, electric guitar, keyboards, guitar, bass, and fiddle. Jacob lives in Colorado
Springs with his wife, Heather, and their two children.
Ian Buckpan, clarinet
Praised for his “wide range of tonal shadings and expressive nuances” (Michael
Butterman, Boulder Philharmonic) and “uncanny technical ability” (Tom
Wilson, Colorado Springs Philharmonic), Ian Buckpan is poised to be one
of the leading clarinetists of his generation. Ian has received 1st place in
numerous Young Artist competitions including the Denver Young Artist
Orchestra (‘08), Arapahoe Philharmonic (‘08,) Boulder Philharmonic (‘07),
Rocky Ridge Music Camp (‘05), Plymouth Congregational Church Music
Contest (‘03), and Colorado Flute Association’s Concerto Contest (‘05). He
has been named a Yamaha Young Performing Artist and was their Overall
Winner at their 2009 Summer Symposium Concert. He is on the Young
Musicians of Colorado 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 and Jefferson Symphony’s Young Artist 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 Chamber Orchestra of the
Springs, the Boulder Philharmonic, the Arapahoe 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” (Robin McNeil,
YourHub.com).
9
Continued on page 11

Note to self:
1. Contact Purple Elephant Realty
2. Buy a house
3. Create a home
4. Start building memories
Purple Purple Elephant Elephant
a season of 1 Realty
Remember our name for service you'll never forget!
sts
David Zuercher, Broker
Supporting the ARTS in the Pikes Peak Region for over 30 years.
phone: 719.599.5962 ~ e-mail: purpleelephantrealty@msn.com
www.purpleelephantrealty.com
Winter Dreams
Luciano Silvestri, Jr., Conductor
december 2, 2012
Tchaikovsky: Symphony No. 1
Tchaikovsky: Nutcracker Suite,
No. 1, Op. 71a
Anderson: Christmas Festival
Anderson: Sleighride
$10 adult $8 senior/student
Sand Creek High School Auditorium
7005 North Carefree Circle • 3 p.m.
www.pikespeakphil.org
10

Featured Artists
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, CU Opera, CU Light Opera,
and the University of Colorado Symphony Orchestra. 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 Daniel Silver, Peter Cooper, Marlena Burghardt, and Jim Travis. He
has earned a Bachelors Degree of Music at the University of Colorado at Boulder, graduating
with Highest Honors and received such accolades as the Presser Award, Outstanding Junior and
Outstanding Graduating Senior.
Paul Nagem, flute
Paul Nagem has held the position of Principal Flute in the Colorado Springs
Symphony/Philharmonic since 1994. A graduate of the New England
Conservatory of Music, he studied there with Lois Schaefer of the Boston
Symphony. Prior to attending NEC he studied with Damian Bursill-
Hall, then Principal Flute of the San Diego Symphony and now with the
Pittsburgh Symphony. In addition to his duties with the Colorado Springs
Philharmonic Mr. Nagem serves as Instructor of Flute at the Colorado
College. He is a member of the Colorado Ballet orchestra, and the Colorado
Chamber players. He has performed with the Colorado Symphony, the San
Diego Symphony and the Singapore Symphony.
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:
$2000 - Concertmaster • $1400 - String principals
$750 - Wind/Brass/Percussion principals
Please contact 633-3649 or chamorch@gmail.com
to take advantage of this underwriting opportunity.
11

Bending Towards the Light, a Jazz Nativity
An exhilarating evening of great theatre combined with the soaring notes of jazz
that interprets the beautiful, traditional Christmas story in a new, unique way!
December 1, 2 & 3, 2012
7:30 pm. Doors open at 6:45 pm.
Broadmoor Community Church, 315 Lake Ave.
Featuring an all- professional, all-Colorado Springs cast!
Produced by Katherine Loo and Judith Sellers
QUESTIONS: Call 719-471-1834 or judysell@aol.com
www.towardsthelight.us
“You dance in your seat - fervent jazz and wondrous joy”
“Amen and Halleluiah-you made a joyful noise
happen for each one of us!”
12
TICKETS: VIP:$40, General Admission $20
Available at the Fine Arts Center Box Office
30 West Dale Street, 634-5583
www.csfineartscenter.org

Ludwig van Beethoven
Egmont Overture, op. 84
Overview: Ludwig van Beethoven
Born: December 16, 1770, in Bonn, Germany
Died: March 26, 1827, in Vienna
Work Composed: 1809 – 1810
Why It Matters: Beethoven was a revolutionary
inspired by the American and French revolutions
and a voice for freedom of expression throughout
much of the world. His dramatic
music about revolutionary figures
occupies a special, personal place
in his repertoire.
Keep your eye on him; he will
make the world talk about him
some day.—Mozart, after meeting
Beethoven, in a letter to Beethoven’s father dated 1787.
Beethoven was the pillar of smoke that led to the
Promised Land.—Franz Liszt.
One of the first things Josef Härtl did,
after taking over the management of the Vienna
Court Theaters in 1808, was to put into process a
revival of plays by Goethe and Schiller with specially
composed music. Beethoven was a natural choice
for such a project, and composed music for Goethe’s
Egmont, supplying an overture, four entr’actes, two
songs for the heroine (Clärchen), the music for
Clärchen’s death, a “melodrama” and, for the finale,
a “Triumph Symphony.” The premier took place at
the Hofburg Theater in Vienna on May 24, 1810.
Egmont, op. 84, was hardly a “sure thing,” however.
Beethoven and Goethe had been notoriously fond of
each other’s talents, even to the point of drawing jibes
from critics as something of a mutual admiration
society. Perhaps to distance himself, Beethoven
originally requested to write music for Schiller’s
William Tell, but theater politics sent that project to
Adalbert Gyrowetz, a Bohemian composer.
Behind the scenes, the real drama was
that Beethoven and Goethe didn’t have the mutual
Program Notes
Voyage on the winds
13
admiration society their critics alleged. Goethe sheds
light on the situation in a personal letter: “I made
the acquaintance of Beethoven at Teplitz. His talent
astonished me prodigiously, but he is, unfortunately,
a wholly untamed person. It is true that he is not
utterly wrong when he finds the world detestable,
but this will not make it more enjoyable for himself
and for others. Yet he is to be excused and much
pitied, for he has lost his hearing, which is, perhaps,
of less injury to his art than to his social relations.
Already laconic by nature, he will be doubly so by
reason of the infirmity.”
Beethoven, meanwhile, complained to
Härtl: “Goethe is too fond of the atmosphere of the
court; fonder than becomes a poet. There is little
room for sport over the absurdities of the virtuosi
when poets, who ought to be looked upon as the
foremost teachers of the nation, can forget everything
else in the enjoyment of court glitter.”
The hero for Goethe’s tragedy, Count
Egmont (1522 – 1568), played a critical role in the
early upheavals of the Low Countries, which later
resulted in their liberation from the Spanish. He
was first a captain under Charles V in the campaign
against the French. His success in the campaign,
however, earned him the envy and enmity of the
Duke of Alba, while his countrymen chose to honor
him as an emancipator who had rescued Flanders
from the French. Charles V’s successor, Philipp II,
tried to turn Flanders into a Spanish dependency, but
Egmont protested—a gesture seen as tantamount to
open rebellion. As a result, when the Duke of Alba
went to the Netherlands in 1567 to quell uprisings,
Egmont was imprisoned and put to death at Brussels
on June 4, 1568. His execution made Egmont a
martyr to his cause.
About Ludwig van Beethoven: Beethoven was
born in the provincial court city of Bonn, Germany,
probably on December 16, 1770. Beethoven’s talent
was such that, at the age of 12, he was already assistant
Program notes continue on page 14

to the organist Christian Gottlob Neefe, with whom
he studied. Attempts to establish him as a prodigy in
the mold of Mozart had little success, however.
In 1787, Beethoven was sent to Vienna,
but his mother fell ill, and he had to return to Bonn
almost immediately. She died a few months later,
and in 1789 Beethoven himself requested that his
alcoholic father be retired, a move that left him
responsible for his two younger brothers. Beethoven
left Bonn for Vienna a second time in November of
1792, in order to study with Haydn.
In 1794, French forces occupied the
Rhineland; consequently, Beethoven’s ties with and
support from the Bonn court came to an end. His
father had died a month after his departure from
Bonn, and his brothers joined him in Vienna. He
remained there the rest of his life, leaving only for
holidays and concerts in nearby cities. His only
extended journey was to Prague, Dresden, and
Berlin in 1796. Beethoven never held an official
position in Vienna. He supported himself by giving
concerts, teaching piano, and through the sale of his
compositions. Members of the Viennese aristocracy
were his steady patrons, and in 1809 three of them—
Prince Kinsky, Prince Lobkowitz, and the Archduke
Rudolph—even guaranteed him a yearly income
with the sole condition that he remain in Vienna.
The last 30 years of Beethoven’s life were
shaped by a series of personal crises, the first of which
was the onset of deafness. The early symptoms,
noticeable to the composer already before 1800,
affected him socially more than musically. His
reaction was despair, resignation, and defiance.
Resolving finally to “seize fate by the throat,” he
emerged from the crisis with a series of triumphant
works that mark the beginning of a new period in his
stylistic development.
A second crisis a decade later was the
breaking off of a relationship with an unnamed
lady (probably Antonie Brentano, the wife of a
friend) known to us as the “Immortal Beloved,” as
Beethoven addressed her in a series of letters in July,
1812. This was apparently the most serious of several
Program Notes, continued
such relationships with women who were in some
way out of his reach, and its traumatic conclusion
was followed by a lengthy period of resignation and
reduced musical activity.
During this time Beethoven’s deafness
advanced to the stage that he could no longer
perform publicly, and he required a slate or little
notebooks (now known as “conversation books”) to
communicate with visitors. The death of his brother
Caspar Carl in 1815 led to a 5-year legal struggle
for custody of Caspar’s son Karl, then 9 years old,
in whom Beethoven saw a last chance for the
domestic life that had otherwise eluded him. His
possessiveness of Karl provoked a final crisis in the
summer of 1826, when the young man attempted
suicide. Shortly thereafter, Beethoven’s health began
to fail, and he died on March 26, 1827, in Vienna.
Max Reger
Hermit Playing the Violin,
from “Four Böcklin Poems”
Overview: Max Reger
Born: March 19, 1873, in Bavaria
Died: May 11, 1916, in Leipzig
Work Composed: 1913
Why It Matters: While music of the early twentieth
century was engulfed in modernism, composers like
Reger continued in the Romantic tradition. One
of Reger’s best and most mature
works, Four Böcklin Poems is an
underperformed gem.
I am sitting in the smallest room
of my house. I have your review
before me. In a moment it will
be behind me.—Max Reger,
responding to a critic.
Four popular paintings by Swiss artist
Arnold Böcklin were the inspiration for Max
Reger’s Four Tone Poems after Arnold Böcklin,
composed in 1913. Pictorial narratives were
Program notes continue on page 16
15

common in Reger’s works, fitting particularly well
with his idealistic, Wilhelminian aesthetic beliefs.
In 1910, Reger became increasingly concerned
about the course of modern music and shared with
his family and friends his desire to continue the
search for an ever-higher art of musical expression
without modern sensationalism. The Four Böcklin
Poems represent these ideals and Reger’s most
mature orchestral language. Throughout, he uses
many divisis in the strings along with extended
string techniques, unique woodwind voicings,
and the subtlest use of the harp for haunting
tonal color. The first movement, “Hermit Playing
the Violin”, is the most popular, original, and
innovative movement of the piece—thoroughly
modern without consciously trying.
About Max Reger: Max Reger owed his early
musical leanings to the example and enthusiasm of
his father, a schoolmaster and amateur musician,
and his early training to the town organist of
Weiden, Adalbert Lindner. Reger was born in
1873 at Brand in the Upper Palatinate, Bavaria.
The following year the family moved to Weiden
and it was here that he spent his childhood and
adolescence, entering a course of teacher training,
when he left school. Lindner had sent examples of
Reger’s early work to Riemann, who accepted him
as a pupil, initially in Sondershausen and then as
his assistant in Wiesbaden. Military service, which
affected Reger’s health and spirits, was followed by
a period at home with his parents in Weiden and
a continuing series of compositions, mostly for
organ, including a monumental series of chorale
fantasias and other compositions.
In 1901, Reger, moved to Munich, where
he spent the next six years. His position in musical
life was not without difficulty, since he was seen as
a champion of absolute music and as hostile at
this time to “program music” and the legacy of
Wagner and Liszt. He was, however, successful as
a pianist and was gradually able to find an audience
for his music. The period in Munich saw the
Program Notes, continued
16
composition of his Sinfonietta, chamber music,
his important Variations and Fugue on a Theme of
J.S. Bach for piano, and the Variations and Fugue
on a Theme of Beethoven for orchestra. In 1907, he
took an appointment as professor of composition
at the University of Leipzig. His music now
found a wider international audience, supported
by his own distinction as a performer, with
concert appearances in London, St. Petersburg,
the Netherlands, Austria, and Germany.
The year 1911 brought an invitation
from the Duke of Saxe-Meiningen to accept the
position of conductor of the court orchestra, an
ensemble established by Han von Bülow and
once conducted by Richard Strauss at the outset
of his career. Reger held this position until the
beginning of the war, when the orchestra was
disbanded, an event that coincided with his own
earlier intention to resign. He spent his final
years based in Jena, but continuing his activities
as a composer and concert performer. He died
in Leipzig in May 1916 on his way back from a
concert tour of the Netherlands.
Reger was a prolific composer, continuing
the tradition of Bach, Mozart, and the great
German composers of the nineteenth century,
with a technical mastery and a command of
harmonic and contrapuntal resources that allowed
him to expand the bounds of tonality in chromatic
exploration.
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!

Wolfgang Amadeus Mozart
Clarinet Concerto
in A Major, K. 622
Overview: Wolfgang Amadeus Mozart
Born: January 27, 1756, in Salzburg
Died: December 5, 1791, in Vienna
Work Composed: September 28 – November 15,
1791
Why It Matters: Finished less than a month before
he died, this is Mozart’s last concerto. The lyricism,
grace, and extended structure of
the piece set a new standard for
wind and brass concerti.
I declare to you before God, and
as an honest man, that your son
is the greatest composer I know,
either personally or by name.
–Joseph Haydn, to Leopold Mozart.
The clarinet was still a newcomer to the
orchestra when Mozart composed his Clarinet
Concerto in A Major, K. 622. Mozart added
clarinets to his “Paris” symphony (no. 31) in
1778, but it would be another decade and nine
symphonies later before clarinets would play a part
in his G Minor symphony (no. 40), and then only
in an optional role. A clarinet concerto by a major
composer was almost unthinkable were it not for
Anton Stadler, virtuoso clarinetist of the Viennese
court orchestra since 1787. Mozart and Stadler
met in 1784, when Stadler was a performer in one
of Mozart’s wind serenades. Like Mozart, Stadler
joined the Freemasons, and they soon became good
friends. Mozart had already composed a concerto
for basset horn (a slightly larger member of the
clarinet family commonly used in church music)
and his Clarinet Quintet, K. 581, for Stadler.
Mozart would rework the first movement of the
basset horn concerto for the clarinet concerto, then
add two new movements to round out the piece.
Completed at the absolute height of his abilities,
Program Notes, continued
17
this is Mozart’s final concerto, especially notable
for its interplay between soloist and orchestra.
About Wolfgang Amadeus Mozart: Mozart
(1756-1791) showed such a prodigious talent
for music in his early childhood that his father,
also a composer, dropped all other ambitions
and devoted himself to educating the boy and
exhibiting his accomplishments. Between ages
six and fifteen, Mozart was on tour over half the
time. By 1762, he was a virtuoso on the clavier—
an early keyboard instrument and predecessor of
the piano—and soon became a good organist and
violinist as well. He produced his first minuets at
the age of six, and his first symphony just before
his ninth birthday, his first oratorio at eleven, and
his first opera at twelve. His final output would
total more than 600 compositions. Much has
already been said and studied in the popular media
about Mozart’s roguish lifestyle and apprehension
of conformity. It was this aspect of his personality
that never won him the support of royalty or
the church, which, at that time, was critical to
any composer’s survival. As such, Mozart died
young, ill, poor, and relatively unappreciated …
only to become the mostly widely acknowledged
orchestral composer in history.
The Chamber Orchestra
Volunteer Corps
We wish to thank our volunteeers who assisted
at our opening concert at the Cornerstone Arts
Center: Beverly and Denis Pirio, Victoria and
Fred Boswell, Mary Wieger, Jean Tarkowski,Hallie
Cabell, and Mike DeMaree. Also, board members
Susan Loring, Michael Grace, Nicole DeNaray,
and Nasit Ari.
If you are interested in joining our Volunteer
Corps, Please call Helene Knapp 576-1814 or
Pam Marsh 634-6171.
“For the Love of Music”
Program notes continue on page 18

John Corigliano
Voyage for Flute and Strings
Overview: John Corigliano
Born: February 16, 1938, in New York City
Work Composed: 1983
Why It Matters: John Corigliano is one of the most
distinguished American composers of our time. He
is one of the few modern composers who not only
wrote exceptional film scores, but was also able to
transition to a successful career in the concert hall.
He works for flute and orchestra,
written for Sir James Galway, and
some of the best modern works
for flute.
He is a performer’s dream—every
note has a place, a direction and a
purpose, and his master of sound
color in orchestration is unparalleled.—Joshua Bell
Voyage for Flute and String Orchestra
(1983) is an instrumental reworking of a 1971
choral piece, setting Richard Wilbur’s translation
of Baudelaire’s 1857 L’Invitation au voyage,
in which Baudelaire muses about a world of
obsessive imagination—what Corigliano called “a
drugged version of heaven full of sensual imagery.”
Unmistakable is Corigliano’s musical reference to
Baudelaire’s refrain: “There, there is nothing else
but grace and measure, richness, quietness, and
pleasure.” The piece was commissioned by Sir
James Galway.
About John Corigliano: Italian-American composer
John Corigliano was born on February 16, 1938,
in New York City, to a musical family. His father
was concertmaster of the New York Philharmonic
for 23 years and his mother was an educator and
a fine pianist. He received degrees in composition
from Columbia University and the Manhattan
School of Music, and worked in various producing
jobs (including as an assistant to the producer of
Leonard Bernstein’s Young People’s Concerts) until
his composition career took over when he won
Program Notes, continued
18
the Spoleto Festival competition with his Sonata
for Violin and Piano (1963). Although dedicated
primarily to orchestral and chamber music, his
1980 score for Altered States is still seen as a critical
and groundbreaking film score, and he we won an
Oscar in 1999 for The Red Violin. His Symphony
No. 1 (1999) shook the orchestral world with the
first major work about the AIDS crisis, and his
Symphony No. 2 (2001) won the Pulitzer Prize
for Music. He teaches composition at Lehman
College of the City University of New York and
the Juilliard School of Music.
Johannes Brahms
Variations on a Theme
of Haydn, op. 56a
Overview: Johannes Brahms
Born: May 7, 1833, in Hamburg
Died: April 3, 1897, in Vienna
Work Composed: 1809 – 1810
Why It Matters: Beethoven was a revolutionary
inspired by the American and French revolutions
and a voice for freedom of expression throughout
much of the world. His dramatic music about
revolutionary figures occupies
a special, personal place in his
repertoire.
“Many new and remarkable
talents have made their
appearance, and a fresh
musical power seemed about to reveal itself among
the many aspiring artists of the day, even though
their compositions were known only to the few. I
thought to follow with interest the pathway of these
elect; there would, there must, after such promise,
suddenly appear one who should utter the highest
ideal expression of his time, who should claim the
Mastership by no gradual development, but burst

upon us fully equipped, as Minerva sprang from the
brain of Jupiter. And he has come, this chosen youth,
over whose cradle the Graces and Heroes seem to
have kept watch. His name is Johannes Brahms.”—
Schumann, in the Neue Zeitschrift für Musik,
Oct. 28, 1853.
Brahms’ Variations on a Theme by Haydn,
op. 56a, have a curious history. We now know that
Haydn had nothing to do with these magnificent
variations. Though Brahms did not know that,
this achievement of turning an obscure tune into
one of the most beloved themes in music is surely
more significant than its pedigree. Brahms’ friend,
Carl Ferdinand Pohl, the author of an important
early biography of Haydn, first showed Brahms the
theme he would later make famous. Brahms had
always been exceptionally interested in older music;
he closely studied the six recently discovered wind
serenades Pohl attributed to Haydn. The second
movement of one, in B-flat Major, particularly
attracted him. He wrote it out and put it in a
folder labeled “copies of outstanding masterpieces
of the 16th-18th centuries for study purposes” that
he had been compiling for years. Brahms wrote
the words “Chorale St. Antoni” next to the theme.
In May of 1873, Brahms started to compose a set
of variations for two pianos on the St. Antoni
theme. On August 20, he and Clara Schumann
played through the work together. Sometime
that Summer, Brahms also began an orchestral
version of the variations, which was premiered
on October 4 by the Vienna Philharmonic, and
was rapturously received. The eight variations
were so imaginative and well-crafted, they were
immediately recognized as something unique and
original. Brahms follows with a further innovation
in the finale, fashioning a five-measure bass line
that he repeats, unchanged, seventeen times—the
strictness of that formula inspiring him to new
heights of invention. The work ends in triumph
Program Notes, continued
19
with the full restatement of the theme. And where
did that theme come from? It is now believed that
Brahms’ beloved theme is the work of Haydn’s star
pupil, Ignaz Pleyel. As for Brahms’ “St. Antoni
Chorale” subtitle, that may be his alone!
About Johannes Brahms: Johannes Brahms was
born in Hamburg, Germany, on May 7, 1833.
He first studied music with his father, a doublebass
player for the Hamburg opera; subsequently
he studied composition with Eduard Marxsen.
Brahms was a talented pianist, giving his first
public recital at the age of 14.
On a concert tour in 1853 as accompanist
for the Hungarian violinist Eduard Remenyi,
Brahms met Franz Liszt, who praised the 20-yearold’s
Scherzo in E-Flat Minor and his piano sonatas.
Brahms, however, never became personally friendly
with Liszt, and in 1860 he signed a manifesto
attacking the so-called Music of the Future, which
Liszt championed. More fruitful for Brahms was
his meeting with Robert Schumann, who hailed
the young composer as the coming genius of
German music and arranged for the publication of
his first songs and piano sonatas. Schumann died
in 1856, and Brahms remained a devoted friend
of his widow, Clara Wieck Schumann, until her
death in 1896. Brahms never married, although
he had a large circle of friends and patrons.
After Brahms was rejected for a post as
conductor in Hamburg in 1862, he visited Vienna
and later (1868) made his home there, originally
working as a choral conductor. Brahms conducted
the orchestra of the Society of the Friends of
Music in Vienna from 1872 to 1875, after which
he devoted himself entirely to composition.
Brahms made his will in 1891 and then embarked
with renewed vigor on the composition of many
of his best works. These later works were mostly
unpublished until after Brahms died in Vienna on
April 3, 1897.

Chamber Orchestra of the Springs Supporters
The following members of our 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
Chamber Orchestra Audience
25th Anniversary Fund
H. Chase StoneTrust
Concert Sponsor
$2,500 to $4,999
Libby Rittenberg and Nasit Ari
Norton Bain,
Bain Family Foundation
Colorado Creative Industries
John G. Duncan Charitable Trust
The Hester and Edwin Giddings
Foundation
Gay & Lesbian Fund for Colorado
JP Morgan
Pikes Peak Community
Foundation-Fund for the Arts
Herman Tiemens II &
Charlotte Maier
Conductors Circle
$1,000 to $2,499
Virginia Snow and John Carter
Joseph Henry Edmondson
Foundation
El Pomar Foundation
Michael and Susan Grace
Dusty and Kathy Loo Fund
of the Pikes Peak Community
Foundation
Terry and Darryl Thatcher
Benefactor:
$500 to $999
Charlease Bobo
Charles and Annie Ruth Bobo
Raymond and Barbara Brown
Nicole and Andrew De Naray
Sam Hall
Walter & Esther Harder
Richard and Sandra Hilt
Helene Knapp
Terry & Elizabeth Lilly
Dr. Stephen & Pamela Marsh
Bob and Lisa Rennick
James Rynning
Verizon Foundation
on behalf of John Lawson
Allan and Gloria Wendt
Sustainer:
$250 to $499
Judy Biondini
Charles and Hallie Cabell
Jane Dillon & David Bredemeier
Jeff Marshall & Shawn Finnegan
Dorothy D. Kautzman
Shirley Kircher
Doris Kneuer
Oliver and Gerda Nickels
Webb Family Fund of the
Pikes Peak Community
Foundation
Susan Sherman
Peggy Houston Shivers
Dr. Susan R. Jensen and
Mr. Tom Trainer
Jeanna Wearing
Phyllis V. White
Harry and Louise Wilson
Thomas G. Wilson
Anonymous(1)
Supporter:
$100 to $249
Larry and Eve Barrett
Karen Bates
William S. Becker
Elizabeth Bockstahler
Ann Brosh
Mary Margaret Brummeler
Judy and Duncan Burdick
20
Dr. and Mrs. Robert Carlton
Eve Tilley Chavez
Kathleen Fox Collins
Thomas & Tania Cronin
Judy and Chris Cunningham
Paul and Janet Davidson
Dr. and Mrs. Donald D.
Dickenson
Mary J. Eiber
Judy Fair-Spaulding
Joanna & Lindsay Fischer
Donald and Barbara Gazibara
Katherine George
Dunning & Mary Idle
Harriet J. Kidd
Glenn & Helen Knight
CW4 Mary Koepp
Bonnie and Dave Linder
Donald and Marie Logan
Richard and Jean McChesney
Patricia McGlothin &
James Tillman
Mary Elizabeth McKinley
Dion F. Mercier
Lynne Miller
Fred and Mary Jean Nelson
Denis and Beverley Pirio
Betty Jane Rickel
Charles Rittenberg
Ralph and Miriam Schinnerer
John F. Slattery
Margaret Smith
Joan Strating
Robert Taylor
Charles Guy Theriot
Frederica Thrash
James Tillman
Mr. and Mrs Van Horn
Charles & Judith Warren
Don and Marylin Werschky
Mary Wieger
Jacqueline Williams
Ms. Miwako Wilson
Anonymous(2)

Chamber Orchestra of the Springs Supporters, continued
Friend:
$1 to $99
Tuck & Liz Aikin, Jr.
Susanne Anselmi
Barbara Arnest
Ann Axelrod
Dirk Baay
Phyllis E. Baker
Judith Benton
Martha Booth
Mr. and Mrs. Dwight S. Brothers
Dale & Gundi Brunson
Inga Champion
Mary E. Claytor
Inge Cordova
Phyllis DeHart
Diana DiMara
Mr. Kor Elzenga
John F. LeFevre
Dorothy Farthing
Carlton Gamers & Elaine Freed
Timothy & Kalah Fuller
Susanna and Fred Gnadinger
Adam & Alicia Gold
Carla and Jim Greenhalgh
Judith Greist
Sherry L. Hall
Ingrid Hart
Walter and Ann Hecox
Karin Henriksen
Carolyn & Ronald Henrikson
Bill & Nancy Hochman
Sylvia Hutson
Donald & Gwendolyn Jenkins
Ronald and Sandra Johnson
W.R. Johnson
Susan Johnson
Gaylia Jones
Marilyn Kastel
Charles King
Cherry and Jack Kinney
Sharon La Mothe
John & Linda LeFevre
Patricia Lipton
Barbara Logan
Scott and Susan Loring
Dr. Suzanne MacAulay
Kay G. MacEnulty
Helmut & Joyce Maile
Marianna Mc Jimsey
21
Linnea McDonald
Mr. and Mrs. Michael McGrath
J. Terry and Judith McIntire
Jon & Becky Medved
Carol and Jim Montgomery
Kate Myers
Jay Norman
Wanda Oelrich
Carol & John Patten
Marie and Ron Pfister
Patricia Plank
John and Elaine Sartoris
Lynda Ward Schedler
Elizabeth and Mark Scott
Colonel & Mrs. Charles Shay
Murl Sickbert
David and Barbara St. Andre
Joyce and Steve Stivers
William Tunstill
Karen Wagner
B. June Williams
Nicholas Wilson
Anonymous(1)
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.
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 and Broadmoor Community Church for the use of their wonderful sanctuary
• Graner Music for distribution of sheet music • KCME-FM 88.7, A Voice for the Arts, for concert publicity
• Ruth Hjelmstad for professional accounting assistance
• Grace Episcopal Church for use of their rehearsal space

No matter who you
are or where you
are on life’s
journey, you are
welcome here.
Two Sunday Services
9:00 and 11:00 a.m.
4460 Barnes Road
719.574.2001
22
Upcoming Concerts at BCC
Sunday, November 18, 3:00 p.m.
**Abendmusik:
Folk Songs Across the Centuries
Saturday, Sunday and Monday
December 1, 2 & 3, 7:00 p.m.
Bending Towards the Light…
a Jazz Nativity
Tickets: Call the FAC Box Office
634-5583
Also available at the door
if not sold out
**Indicates a free (freewill offering) concert
315 Lake Avenue • 473-1807
www.broadmoorchurch.org
Recital
Hall and Cafe
NOW
OPEN
Southern ColoradoÕs Largest Full Line Music Store
Band and Orchestra Instruments • Sheet Music • Private Lessons
Instrument Repairs • Pianos and Keyboards
PROUDLY SUPPORTING LIVE MUSIC IN COLORADO SPRINGS

Chamber Orchestra of the Springs
2012 - 2013 • 29 th Season
The Season Continues
February 2-3, 2013: Shall We Dance?
Aaron Copland Three Latin American Sketches
Samuel Barber Capricorn Concerto for Flute, Oboe,
Trumpet & Strings
Claude Debussy Danses sacrée et profane (Sacred and Profane Dances)
Matthew Tutsky, harp
Ney Rosauro Marimba Concerto
Carl Cook, marimba
Igor Stravinsky Danses Concertantes
February 23-24, 2013: Fortunes
Michael Daugherty Tell My Fortune
Ernst Bloch Concerto Grosso No. 2
Hausmusik
W.A. Mozart Symphony No. 36 in C Major, K.425 “Linz”
April 27 - 28: Season Finale: The Promise of Spring
Frédéric Chopin Piano Concerto No. 1 in in E Minor, op. 11
Michael Cheung, piano; Amateur Pianists International Winner
Gustav Mahler Blumine
Jean Sibelius Symphony No. 3 in C, op. 52
Hillside Gardens & Event Center
• For Weddings and Special Events
• 4 acres of gardens with
fabulous mountain views
• Large covered pavilion
1006 South Institute Street
Colorado Springs, CO 80903
(719) 520-9463
23

a CHRISTM S to
Remember
MADRIGAL BANQUET
A Renaissance Christmas: In its 24th year, the
5-course banquet is served by costumed wait
staff while the singers and dancers offer a
stage show that is a perennial
Christmas delight.
December 1, 7, 8, 13, 14,
15, 20, 21, 22
Tickets are $99 plus tax
THE CHAMBER ORCHESTRA
The Best of Christmas Concert includes soloists
and the Children’s Chorale singing and
playing all your Christmas favorites. Refined
music in a great music hall with a
15-foot Christmas tree.
December 2: 4:30 and 7:00
December 16: 4:30 and 7:00
December 17: 7:00
Tickets are $20
ACOUSTIC EIDOLON
A Christmas Carol Evening for all ages,
played on a variety of acoustic instruments
accompanied by the stories of how we came
to love our favorite tunes and carols.
December 18 and 19 at 7:00 PM
Tickets are $20
For reservations, call 719-265-7050, or for more
information, visit www.gleneyrie.org/christmas
24
V