guest artists - Chamber Orchestra of the Springs

Chamber Orchestra
of the Springs
2008 - 2009
Twenty-Fifth Anniversary Season
Thomas Wilson, Music Director
For the Love of Music

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Holiday and Remembrance
Gould •Walton • Grofe •Christmas Music
February 15
European Contrasts
Saint-Saens • Grieg • Bartok •Mendelssohn
May 3
Pictures and Stories
Torke • Borodin • Tchaikovsky
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All Concerts at 3:00 p.m. at Wasson High School, 2115 Afton Way
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Chamber Orchestra Of The Springs
P.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
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We wish to express our sincere appreciation to the following organizations:
Print Media Sponsor Printing Services
President: Charlease Bobo
Vice President: Lynn Hurst
Secretary: Anita Maresh
Jay Norman: Treasurer
Nasit Ari
Bill Flitter
Michael Grace
John LeFevre
Bettina Swigger
Linda Weise
David Ball

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
Ancient Airs, Timeless Grace
November 8, 2008, 7:00 PM, Broadmoor Community Church
November 9, 2008, 3:00 PM, First Christian Church
Henry Purcell Sonata in D Major for Trumpet and Strings
(1659-1695) I. Allegro
II. Adagio
III. Allegro
David Zuercher, trumpet
Wolfgang Amadeus Mozart Piano Concerto No. 27 in B-Flat Major, K595
(1756-1791) I. Allegro
II. Larghetto
III. Rondo: Allegro
Kelly Zuercher, piano
INTERMISSION
Georg Philipp Telemann Concerto Grosso in D Major, TWV54:D3
(1681-1767) I. Intrada – Grave
II. Allegro
III. Largo
IV. Vivace
Oboes: Nancy Brown, Carla Scott
Trumpets: David Zuercher, Thomas Wilson, William Flitter
Antonio Vivaldi Concerto Grosso in F Major, RV100
(1678-1741) I. Allegro
II. Largo
III. Allegro
Phyllis White, Flute
Azaduhi Vieira, Violin
Alejandro Vieira, Bassoon
Ottorino Respighi Ancient Airs and Dances, Suite III
(1879-1936) I. Simone Molinaro: Balletto ditto “Il Conte Orlando”
II. Vincenzo Galilei: Gagliarda
III. Anonymous: Villanella
IV. Anonymous: Passo mezzo e Mascherada

The Players of the Chamber Orchestra of the Springs
Harpsichord
Sara McDaniel
Harp
Megan Prahl
First Violin
*Azaduhi Vieira,
Concertmaster
Julie Swanty
Erika Devins
Terri Moon
Kay Wehofer
Sara Miller
Melanie Richards
Tympani
Scott Bruce
Flute
*Phyllis White
Cheryl Stauffer
Second Violin
*Debora Falco
Anita Maresh
Meagan Jackson
Lydia Campbell
Kelly Jeppesen
Charlease Bobo
Cindy Robinson
Oboe
* Nancy Brown
Carla Scott
Thomas Wilson
Conductor
French Horn
*Elwood White
Christina Schwartz-Soper
English Horn
Joyce Hanagan
Viola
*Diana Zombola
**Keith Russell
Rebecca Harrison
Matthew Canty
Deborah Weltzer
Bassoon
* Shirley Plumer
John Lawson
String Bass
* Cathy
Camp-Davidson
Cello
*Nancy Nylander
**Annemarie Dawson
Ramona McConkie
Tori Bardin
* Principal
** Asst. Principal
The Chamber Orchestra of the Springs
Acknowledges with Great Thanks music donations made for this concert:
Mozart Piano Concerto #27
Lon and Deb Weltzer in memory of Doris Luckey Nelson
Respighi Ancient Airs and Dances Suite #1
Charlease Bobo in celebration of the birthday of violin teacher Debora Falco
Trumpet
* Bill Flitter
Dan Bell
Purcell Sonata in D for Trumpet and Strings, and Telemann Concerto Grosso in D Major
John Carter and Virginia snow.
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!

What no one will fail to find in Purcell at
his best is a spring of life, a vitality that glows with
the effort of the whole man. To listen is to share an
experience, to catch some of his glancing fire and to
have a part in his aching regret.—J. A. Westrup
By any measure, Henry Purcell (1659-
1695) was England’s finest Baroque composer, and
would have established a unique English Baroque
style if he hadn’t died at the age of 36. Purcell’s
father and uncle were both professional musicians
at the court of Charles II, and his brother Daniel
was an organist and a composer. These family
connections gave Purcell access to some of the
finest musicians and pedagogues of the day. Purcell
became a court composer in 1677 secured a position
as organist at Westminster Abbey in 1697. Most of
his life was spent in various positions in and around
Westminster, including Whitehall palace and the
Chapel Royal at St. James. He is remembered
primarily for two of his finest operas—Dido and
Aeneas and The Fairy Queen.
Purcell’s Sonata in D Major for Trumpet
and Strings is believed by many scholars to be the
overture to the lost ode The Light of the World. It
is structured in the fast-slow-fast Italian style and
is a fine example of Purcell’s gift of melody and
phrasing.
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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.
Wolfgang Amadeus 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
Program Notes
Season Premier
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.
Mozart completed his Piano Concerto
No. 27 in B-flat Major, K595 on January 5, 1791,
about one year before his death, and the piece
was premiered on March 4 of the same year. It
followed two years of extreme financial hardship
that threatened his marriage. Gone are the idyllic
grace and subtle humor of Mozart’s happier
days. Instead, we hear a wisp of introspection or
perhaps even resignation. As the least virtuosic
of all Mozart’s concertos, K595 requires a depth
and invention from its soloist beyond all of his
concertos.
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Georg Philipp Telemann (1681-1767)
was considered the greatest German composer of
the first half of the 18th century … until the more
objective lens of history was given a few centuries
to consider J.S. Bach’s music. Nonetheless,
Telemann was incredibly prolific, writing among
other things about 40 operas, 46 Passions, and
five complete cycles of cantatas. At its best, the
music of Telemann has a right melodiousness
foreshadowing that of Haydn and Mozart.
Continued on page 9

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Born at Magdeburg to an affluent
middle-class family, Telemann went against
family tradition, choosing to study music over
service in the clergy. Pressed by his father to study
law instead, Telemann went to the University of
Leipzig in 1701, but once his musical abilities
were discovered, it was impossible for him to
do anything else. He founded the Collegium
Musicum, a society that gave public concerts
which Bach later directed, and became a widely
respected organist. Telemann left Leipzig in 1705
for positions in Sorau and Eisenach, but settled for
nine years (1712-1721) into a position as Music
Director of the city of Frankfurt. He moved to
Hamburg in 1722 to become cantor and take
charge of the music at the five principal churches
in the city, and remained there until his death,
when he was succeeded by his godson, C.P.E.
Bach.
Telemann’s Concerto Grosso in D Major,
TWV54:D3, features two oboes and three
trumpets as the solo instruments. The trumpet
parts were written for the valveless predecessor of
the modern trumpet, called a “natural trumpet,”
which was a notoriously difficult and physically
demanding instrument to play. Even the modern
piccolo trumpets have little impact on the extreme
demands of range and tessitura often employed
by Baroque composers. Employing a grand
“intrada” to begin the piece and a short slow
section to transition to the body of the work, the
rest of the concerto is a typical Italian fast-slowfast
form. Here, however, it is the counterpoint,
the innovative scoring, and the virtuosic technical
displays by all of the soloists that make the piece
special, both in the context of Telemann’s output
and in the entire Baroque repertoire.
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The compositions chosen for the festival confronted
us with a Vivaldi who can be compared without
hesitation to J.S. Bach. Every day it is more evident
that the influence exerted by Vivaldi on the Cantor
was considerable and perhaps even decisive in his
Program Notes, continued
molding. –Alfredo Casella, writing of the Vivaldi
Festival in Siena, 1939.
Long famous throughout Europe as a
composer and violinist, Antonio Vivaldi (1678-
1741) lost his public during the last decade of his
life. He spent his final days in penury and, like
Mozart after him, was buried in a pauper’s grave,
his scores seemingly doomed to obscurity. In
fact, more than 200 years passed before musicians
made the first sustained attempt at reviving the
composer’s works, in the late 1940s, and even at
that time, musicologists would have scoffed at the
suggestion that Vivaldi could ever again attain
best-seller status. Yet, in the mid-1960s, Vivaldi’s
music had, with storybook rapidity, regained the
kind of widespread admiration and adoration it
had last known in the1720s.
The vast size of Vivaldi’s concerto output,
(some 500 surviving works), was a consequence of
the composer’s 35 years of employment at Venice’s
Pio Ospedale della Pietà, where new music was
constantly needed for the weekly Sunday public
concerts presented by the students. The Pietà
originated as a shelter and school for female
orphans, but soon proved of such educational
excellence (particularly in music) that the wealthy
citizens began sending their daughters there.
Clearly, the Pietà girls were superlatively trained
musicians, or so Vivaldi’s concertos indicate.
Vivaldi apparently considered such
student works of less importance to his career
than his operas, forty-six of which survive though
there may have been many more. He repeatedly
took leaves of absence from the Pietà to supervise
productions of his stage works in various Italian
cities.
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Here is an elegant way of writing, in the sense of the
rhetoric of another day; a beautiful harmonizing; a
splendid method of orchestration; and with these a
desire to be agreeable, well-mannered, and respectable
at all costs. —Gatti.
Continued on page 11

The Colorado College
Summer Music Festival
10
The 25th Season!
“The excitement,
beauty,
and intimacy
of classical music”
Save the dates for this exciting
anniversary season:
June 6th - June 30th
719.389.6098 w summer@ColoradoCollege.edu
www.ArtsFestival.ColoradoCollege.edu/MusicFestival

As the descendent of a family of professional
musicians, Ottorino Respighi (1879-1936) inherited
a rich talent as part of his birthright. His earliest
music lessons were with his father, but he progressed
so rapidly that he began his professional training
in violin, piano and composition at the age of
just thirteen. As a young man, Respighi was torn
between ambitions to become a concert violinist or a
composer. He got a job as a violist with the orchestra
of the St. Petersburg Opera, and took advantage of
his time in Russia to study with Nikolai Rimsky-
Korsakov, whose brilliant orchestral technique was a
lasting influence. He then moved to Berlin to study
violin and composition with Max Bruch. Respighi
spent the years from 1903 to 1925 primarily in Italy,
first as a performer, then as professor of composition,
and finally as head of the Saint Cecilia Academy
in Rome. He left the Academy in 1925 to devote
himself to composition and touring, making four
trips to the United States during the next seven years.
He died of a heart attack at the age of fifty-six.
Respighi had an abiding interest in the
music of the late Renaissance and Baroque eras, and
he edited many works by such venerable composers
as Monteverdi, Frescobaldi, Tartini and Vitali
for publication. Speaking against serialism and
mechanical/mathematical music that was being played
in some concert halls and chased away audiences,
Respighi was one of ten composers who issued a
document espousing the hallowed philosophy of
music as communication: “We are against art which
cannot and does not have any human content and
desires to be merely a mechanical demonstration and
a cerebral puzzle. A logical chain binds the past and
the future—the romanticism of yesterday will again be
the romanticism of tomorrow.” Given most current
trends in composition, they were obviously correct.
Among the most charming of Respighi’s
works based on old models are the three sets of
Ancient Airs and Dances (1917, 1924, 1932),
arrangements of Italian and French lute and
keyboard pieces of the sixteenth, seventeenth, and
early eighteenth centuries. Respighi kept the old
Program Notes, continued
11
melodies and harmonies intact while enriching
their texture and providing them with brilliant
orchestral color.
The First Suite of Ancient Airs and Dances
opens with a Balletto detto “Il Conte Orlando”
(“Count Orlando’s Dance”) issued in Venice in 1599
as part of a large collection of lute pieces by Simone
Molinaro (ca. 1565-ca. 1613). The following
Gagliarda is the work of Vincenzo Galilei (1520-
1591), the Florentine composer and theorist and
father of Galileo Galilei. Respighi placed in the
center of the movement an anonymous Italiana
built above a bagpipe-like drone. The lovely
third movement, a sort of serenade with plucked
accompaniment undoubtedly meant to resemble
a lute, is a Villanella, a vocal form that originated
in Naples during the mid-sixteenth century as
a reaction to the refinement and pretensions
of the sophisticated madrigal. Two pieces of
unknown origin, a quick Passo mezzo and a
flowing Mascherada, a type of villanella used for
masquerades, alternate to bring the work to a
joyous close.
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UPCOMING CONCERTS
January 17 & 18, 2009:
Chamber Orchestra & Conservatory:
Together!
Copland• Copland • Menotti
February 28 & March 1, 2009:
Local Flair, International Fare
Arnest• Saint-Saëns • Haydn• Clementi
April 25 & 26, 2009:
Season Finale
Mendelssohn • Beethoven • Fauré

guest artists
Kelly McSweeney Zuercher, principal pianist of the Colorado Springs Philharmonic,
is a native of Oklahoma City, Oklahoma. Mrs. Zuercher began to play the piano by
ear at the age of three, then, at age five, began piano lessons with her first teacher,
Philelle McBrayer. She studied with Dr. Clarence Burg as a preparatory student at
Oklahoma City University, and she remained his student through her graduation
from that university with a Bachelor of Music Degree in Piano Performance. She
received the Master of Music Degree in Piano Performance from the University of
Louisville, Kentucky. Mrs. Zuercher made her solo debut at age twelve with the
Oklahoma City Symphony as winner of a concerto competition, and was a recipient
of the Bloch Young Artist Award. She spent a year abroad as recipient of a Rotary
International Graduate Fellowship, and studied with Jules Gentil. At the close of
her year in France she was awarded the prestigious Diplôme Supérieur d’Exécution,
from the Ecole Normale de Musique de Paris, by unanimous vote of an international
jury, an honor seldom obtained after only one year’s study. She has appeared throughout the United States as a
soloist and chamber musician, including several apperances as soloist with the Colorado Springs Philharmonic,
including Gershwin’s Rhapsody in Blue and Piano Concerto in F, and Piano Concerto No. 1 by Shostakovich.
She also presents concerts with her husband, David, who is principal trumpeter of the Colorado Springs
Philharmonic. Mrs. Zuercher has served on the piano faculties of Metropolitan State College in Denver, the
University of Colorado at Colorado Springs, and currently maintains a private piano studio.
David Alan Zuercher, principal trumpeter of the Colorado Springs Philharmonic, is a
native of Louisville, Kentucky. Mr. Zuercher began musical instruction at the age of
eight with emphasis in piano, flute and percussion. At age eleven, inspired by recordings
of solo trumpet with orchestra, Mr. Zuercher’s instrumental priority switched to
trumpet. The decision to make orchestral trumpet performance a career led him to
study with Leon Rapier at the University of Louisville, Kentucky. Since then, other
private teachers have included William Vacchiano (New York Philharmonic), Samuel
Krauss (Philadelphia Orchestra) and Arnold Jacobs (Chicago Symphony Orchestra).
While on the staff of the National Music Camp at Interlochen, Michigan, Mr.
Zuercher was invited to Taiwan as principal trumpeter of the Taipei Philharmonic
but, after graduating from the University of Louisville with a Bachelor’s Degree in
orchestral performance in 1978, he chose to accept the invitation to perform with
the symphony orchestra in Colorado Springs. Mr. Zuercher’s solo, chamber and
orchestral work have established him as an exceptional performer. He has performed
in numerous clinic–recitals, as soloist with symphony orchestras and as a member of the King’s Brass, along
with virtuoso trumpeter Robert Nagel.
In addition to maintaining his private music studio, Mr. Zuercher has served on the trumpet faculties of both
The Colorado College and the University of Colorado at Colorado Springs. Additionally, he is the founder of
his own music publishing company, Sound Ideas Publications, which specializes in solo and ensemble selections
for brass instruments. Mr. Zuercher has been married to pianist Kelly McSweeney Zuercher since 1981.
The Zuerchers have two children and take pleasure in residing at the base of Pikes Peak in the “America the
Beautiful” city.
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guest artists
Technical Sergeant Alejandro Vieira, bassoon, hails from Fort Lauderdale, Florida.
He holds a Bachelor of Music degree from the Peabody Institute at Johns Hopkins
University, and a Master of Music degree from the University of Cincinnati College-
Conservatory of Music. Alex has performed in many countries and festivals, including
France’s Evian Festival, Italy, Austria, Hungary, Ireland, the 1998 World Exposition
in Lisbon, Portugal, the Sarasota Music Festival in Sarasota, Florida, the Music
Academy of the West in Santa Barbara, California, and the National Orchestral Institute
in College Park, Maryland. He is Bassoon Instructor at Colorado College, and
has been featured as a guest artist in the Colorado College Summer Music Festival.
Alex has also performed numerous recitals in Colorado Springs for the USAF Academy
Band’s Chamber Recital Series, the Faculty Recital Series at Colorado College,
and the Thursday Night Recital Series at the Colorado Springs School. He was a
finalist in the 2002 International Double Reed Society’s Gillet-Fox bassoon competition where he received
the award of Honorable Mention. Alex has performed with the Colorado Symphony Orchestra, the Baltimore
Symphony Orchestra, and the Northern Kentucky Symphony, and he is currently the second bassoonist and
contrabassoonist in the Colorado Springs Philharmonic Orchestra. His teachers include William Winstead,
Linda Harwell, Phillip Kolker, Denis Michel, Manuel Zegler, and David Fedderly. Alex joined The United
States Air Force Academy Band in 1998 and currently performs with the Concert Band, Marching Band, and
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35 Years In The Making
Soups, Salads and Specials
Tuesday–Friday Lunch
Special Menu
Sunday Brunch 10:30 - 2:00
Jazz Thursdays,
acoustic Fridays in newly
remodeled bar/gallery
Near I-25 & Woodmen
FOR RESERVATIONS:
(719) 598–8667

Chamber Orchestra of the Springs
Supporters
The following members of our 2008-2009 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 Sponsor
$10,000 -$24,999
The Bee Vradenburg Foundation
Concert Sponsor
$2,500-4999
Colorado Springs Symphonic Guild
Nasit Ari and Libby Rittenberg
Conductor’s Circle
$1,000-2,499
Sam and Mary Alice Hall
Herman Tiemens
Benefactor
$500-999
Broadmoor Community Church
Michael and Susan Grace
Pam Marsh
The Progressive Insurance Foundation
The 10 N. Tejon Fund of the
Pikes Peak Region
Supporter
$250-499
Walt and Esther Harder
Dr. and Mrs. Robert E. Carlton
Terence and Elizabeth Lilly
Bob and Lisa Rennick
Friend
$0-249
Ray and Airene Avischious
Ann Axelrod
Larry and Eve Barrett
William S. Becker
Charlease Bobo
Martha H. Booth
Walter and Harriet Brooks
Ann Brosh
Dale E. Brunson
Duncan and Judith Burdick
Kathleen Fox Collins –
In Honor of David Ball
Judy and Chris Cunningham
Paul and Janet Davidson
Phyllis DeHart
Jill Demetry
Donald and Robin Dickenson
Mary J. Elber
Elisabeth J. Fleenor
Ed Gallagher
Elinor J. Garriques
I. Von Der Gathen
Liz and Chuck Geiss
Dimitr S. Gotseff
Ms. Rose Elnor Hamman
Ingrid Hart
Richard and Sandra Hilt
Mr. and Mrs. Dunning Idle IV
Donald and Gwendolyn Jenkins
Gaylia Jones
Frank and Elfiede Jopp
Marilyn Kastel
Daniel and Dorothy Kautzman
Harriet Kidd
Mina C. Kidd
Cherry and Jack Kinney
Dr. and Mrs. Laurence T. Kircher
Helene Knapp
Sharon LaMothe
John F. LeFevre
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Bonnie and Dave Linder
Patricia Lipton
Barbara Logan
Richard and Jean McChesney
Mary McKinley
Dion F. Mercier
George Merket
Charles and Jane Merritt
Lynne Miller
Helen Murray
Ann J. Nelson
Mary Jean Nelson
Jay Norman
Janet Norman
Arthur and Bärbel O’Connor
Loanda Oelrich
Patricia Plank
Betty Jane Rickel
Col. J.L. Rynning
Janice Schober
Lori Schwartz
Herb and Rhea Siegel
John F. Slattery
Margaret Smith
Marilouise Sullivan
L.W. Tatum
Robert H. Taylor
Frederica A. Thrash
Carol Townsley
William Tunstill
William and Joyce Underwood
Mary Weiger
Don and Marylin Werschky
Phyllis V. White
Harry and Louise Wilson
Julienne Wilkinson

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 14.
The Chamber Orchestra of the Springs welcomes corporate sponsorships for its programs and activities.
Please contact Coral Cutts-Montgomery at 719-339-6988, for information on sponsorships and
benefits.
Special Appreciation for...
Blueprints, Inc. for printing services
Sylvia Hutson for her efforts with graphic design and layout
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
Tom Kratz for the use of the podium
Ruth Hjelmstad for professional assistance with accounting
First Lutheran Church for use of their rehearsal space
Should you wish to join our group of generous benefactors, your contribution will be very much
appreciated and duly acknowledged in the programs for the remainder of the concert season. Please
make checks payable to Chamber Orchestra of the Springs, and mail to P.O. Box 7911, Colorado
Springs, CO 80933–7911.
Name: Contribution:
Street: City: State: Zip:
Phone (day): (evening):
Email:
The Chamber Orchestra of the Springs would like to add your e-mail address to its database so that we
may send you announcements of upcoming events, special news etc. The Chamber Orchestra of the
Springs database is for internal use only; its lists are not sold or given to any other organizations.
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Between the end of this concert and
the beginning of the next,
you can hear fine symphonic and
chamber music on
KCME . FM
All Classical
Member Supported Independent Public Radio
Manitou Springs 90.9 FM
Cripple Creek/Victor 89.5 FM
Cañon City/Florence 91.1 FM
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(719) 578–5263
Browse and listen at www.kcme.org
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