27th Season 2010 - 2011

Emerging from DarknessLife after WWII

November 6 & 7, 2010

For the Love of Music

Chamber Orchestra of the Springs

Thomas Wilson, Music Director

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Chamber Orchestra Of The SpringsP.O. Box 7911

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

www.chamberorchestraofthesprings.org

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

Board Of Trustees

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

Charlease Bobo, PresidentMichael Grace, Vice President

Anita Maresh, SecretaryJay Norman, Treasurer

Nasit AriMary Eiber, Co-Chair Volunteer Activities

Rebecca HarrisonHelene Knapp, Co-Chair Volunteer Activities

Karen PeaceChristina Schwartz-Soper

Phyllis White

Print Media Sponsor

Printing Services

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Jan 29 & 30, 2011Voices of Light: COS and the Colorado Vocal Arts Ensemble Mozart • Saint-Saëns • Handel • LauridsenJohn Lindsey, tenor CVAE, Deborah Teske, conductor

February 26 & 27, 2011Illuminations of Genius Britten • Mendelssohn • MozartMarlissa Hudson, soprano, Shivers Artist Desiree Cedeno Suarez, violin, Shivers Artist

April 30 & May 1, 2011Season Finale Barber • Beethoven • TchaikovskyDmytro Vynohradov, 2009 API Winner

Chamber Orchestra of the Springs 2010 - 2011 Season

Single Tickets Available in Advance or at the DoorAdults: $20Seniors: $15Students: $5

“For the love of music”

For more information or to order tickets, contact us at (719) 633-3649

or by e-mail at chamorch@gmail.com

www.chamberorchestraofthesprings.com

Lindsey

Hudson

Cedeno Suarez

Vynohradov

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Thomas WilsonMusic Director

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

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

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

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

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

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Join us for a wonderful evening as we gather in a private home or a historic building in Colorado Springs to enjoy beautiful chamber music in the company of other music lovers. Identical

performances are held on Monday and Tuesday evenings and include a light buffet dinner, wine, dessert and coffee for the single reservation price of $50.

UPCOMING PERFORMANCES

*FEBRUARY 28 & MARCH 1, 2011at the home of John Street and

featuring Lawrence Leighton Smith

*MAY 1 & 2, 2011Grace Episcopal Church Additional information is

available at our website: coloradohausmusik.com

For reservations, contact: Karen Clark at 538-0343 or hausmusik2C@aol.com

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Chamber Orchestra Of The SpringsThomas Wilson, Music Director

Emerging from DarknessLife after WWII

November 6 & 7, 2010

Dmitri Shostakovich Chamber Symphony, op. 110a(1906-1975) “In Memory of the Victims of Fascism and War” I. Allegro moderato II. Lento III. Moderato IV. Allegro brio; Presto Movements played without pause.

Aaron Copland Clarinet Concerto (1948)(1900-1990) Ian Buckspan, clarinet

INTERMISSION

Ralph Vaughan Williams Symphony No. 5 in D Major(1872-1958) I. Preludio: Moderato II. Scherzo: Presto misterioso III. Romanza: Lento IV. Passacaglia: Moderato

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The Colorado Springs

Conservatory

(719)577-4556 1600 North Union Blvd.

Colorado Springs, Colorado 80909www.coloradospringsconservatory.org

THE MISSION of the Colorado Springs Conservatory is to inspire, motivate, and challenge all students to aspire to their highest potential as artists and as human beings through arts immersion studies and community arts advocacy participation.

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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First Violin*1Jacob Klock

**Anita Maresh Dagmar Mock,

Sara MillerTerri Moon

Kay WehoferDiane Israel

Second Violin*Debora Falco

**Kelly Dean Pilarcyzk, Lydia Campbell

Deborah Youngerman Nathan Burns

Charlease BoboGregory Gershteyn

Viola*Renata van der Vyer

**Matthew Canty Rebecca Harrison Diana ZombolaDan Masterson

Cello*Ramona McConkie

Norah Clydesdale Timothy Ogilvie

Tamara Gershteyn

String Bass*Timothy Crawford

Daniel Kiser

Flute*Phyllis WhiteCheryl Stauffer

Oboe* Nancy Brown

Bassoon*Greg BrownJohn Lawson

Thomas WilsonConductor

The Players Of The Chamber Orchestra Of The Springs

*1 Concert Master* Principal** Asst. Principal

Timpani *Carl Cook

Trumpet* Glen Whitehead†

Dan Bell

French Horn *Mathew Evans

Christina Schwartz-Soper

Clarinet*Jay Norman

Pam Diaz

TromboneRick Crafts

Chuck MusholtRoger Yunker

PianoSara McDaniel Harp

Joni Martin

English HornCarla Scott

†Chair underwritten by Mrs. Mary Eiber and Mr. And Mrs. Dawn and Charles Eiber-Thurmond in memory of Gary Eiber

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Featured ArtistIan Buckpan, ClarinetPraised 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).

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, Oustanding Junior and Oustanding Graduating Senior.

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Program Notes Emerging from Darkness

Life after WWII

Continued on page 15

I consider that every artist who isolates himself from the world is doomed. I find it incredible that an artist should want to shut himself away from the people, who, in the end, form his audience. I think an artist should serve the greatest possible number of people. I always try to make myself as widely understood as possible, and, if I don’t succeed, I consider it my own fault.—Shostakovich

The music of Shostakovitch to me, is much more then notes on a page. His music has a depth and awareness that al-lows the player and listener to truly feel the conflict that Shostakovitch was experiencing during his life. Playing the Chamber Symphony allows the Chamber Orchestra a rare glimpse into Shostakovitch’s life, the Symphony has numerous themes from previous compositions, forming his musical autobiography. --Sara Miller, COS member, violin, music teacher, Widefield District

Dmitri Shostakovich (1906-1975) was taught initially by his mother, but his first major musical influence came from Glazunov, who encouraged the boy when he entered Petrograd Conservatory in 1919. In 1926, his diploma work, the First Symphony, was performed in Moscow and Leningrad (then renamed Petrograd), earning the composer international fame before his twenty-first birthday. His mission was to produce work that was accessible without being regressive, and it would bring him into a lifelong conflict with the musical critics within the government. In best times, Shostakovich enjoyed widespread recognition and a comfortable teaching post at the Moscow Conservatory. In worst times, Shostakovich had no choice but to write film scores to survive and routinely slept by the door with a packed suitcase, waiting for a “knock at the door” and his arrest by the secret police, that he considered inevitable. Starting with his Fourth Symphony, Shostakovich found himself at odds with the Communist Party, its cultural control-mongers, and Stalin himself. After the premiere of the Ninth Symphony, Shostakovich was banned from symphonic writing and the concert hall, relegated to film scoring and writing chamber music for his friends. Much

of the chamber music was so deeply personal that Shostakovich didn’t reveal it to anyone, and it’s during this part of Shostakovich’s output that huge time gaps often exist between composition and premiere. After Stalin’s death in 1953, Shostakovich’s artistic freedom improved and he even wrote a rather scathing rebuke of Stalin in his Tenth Symphony. Still, pressure from the Communist Party remained intense and he was finally forced to sign an application for Communist Party membership in 1960. The Party still tried desperately to control Shostakovich’s musical output, but many of his scores were smuggled out of the USSR on microfiche and his music found its long awaited success beyond the Iron Curtain, with Leonard Bernstein one of its chief proponents. Shostakovich’s works represent a personal biography and a musical record of the times in which he lived. His artistic enterprise was to ask great questions, grapple with monumental problems, and give them enduring artistic form. It was not his purpose to provide ultimate answers.

Shostakovich’s period of artistic banishment was deeply painful to him. The fear, constraint, and isolation under which he lived struck at the very core of his being. The Chamber Symphony, op. 110 “In Memory of the Victims of Fascism and War” is one in a long line of works in which Shostakovich sorted through the terror of those years and sometimes cast a cautiously optimistic look forward. Like all of his most personal music, his musical “monogram,” the notes D, E-flat, C, and B, (which, in European notes is D-S-C-H, signifying “Dmitri Schostakovich”) are integral to this piece and are sounded at the beginning, in an introduction so dark and coldly resolved that it reveals the part of Shostakovich’s soul that never really healed in his lifetime. The second movement bursts into panicked flight—imagery common to Shostakovich’s music during this period—with violent slashing chords and relentless rhythmic drive. The panic is finally interrupted by the DSCH motive, giving way to a demented waltz and then a polka, as though from an opulent ballroom where brilliantly-uniformed fascists

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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 Tarrytown, New York.

Aaron Copland’s Clarinet Concerto was commissioned by legendary jazz clarinetist Benny Goodman in 1948, and was probably inspired by Stravinsky’s Ebony Concerto for Woody Herman three years earlier. Copland had moved away from jazz styles by 1948, but opted to return to jazz and swing in deference to Goodman. He also hints at a Brazilian popular song he heard during his post-war mission to Latin America, sponsored by the U.S. Department of State. Goodman is said to have been very concerned with the difficulty of the cadenza when he first saw the score, but overcame the challenges and premiered the piece with the NBC Symphony Orchestra and Fritz Reiner on November 6, 1950. The piece has two main sections—the opening slow section in an ABA form and a fast, jazzy section to end the piece, separated by the demanding cadenza. Essential to the second section are the relentless syncopated accents which give the music a true jazz feel. Copland had intended his Third Symphony (1946) as a summation of his populist period, but the accessibility of the Clarinet Concerto began an extension of this period that would last until his Orchestral Variations (1957) and include Twelve Poems of Emily Dickinson, Old American Songs, and The Tender Land.

Program Notes, continued

dance in complete denial of the terror all around them. The fourth movement brings a sudden chill—the knock at the door for which Shostakovich waited for years—then sinks into utter loneliness and defeat. Despite tiny glimpses of hope, the piece returns to the DSCH motive in the final movement in a cold resolve, with no attempt to answer any questions, no real hope, and no consolation, which Shostakovich could neither find in himself nor offer to anyone.

Inspiration may be a form of super-consciousness, or perhaps of subconsciousness—I wouldn’t know. But I am sure it is the antithesis of self-consciousness. —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 premier American composer.

Copland learned to play piano from an older sister, 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.

In 1936, he moved toward a simpler style. He felt this made his music more meaningful to the large music-

Continued on page 17

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Ticket Prices: General Admission: $5 Reserved: $10

FIRST UNITED METHODIST CHURCH 420 NORTH NEVADA AVENUE-downtown

Thomas Wilson, conductorThanksgiving Weekend

DON’T MISS

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SPRINGS’

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Introducing a new production in

association with Ballet Idaho and

great family-friendly pricing from only

$27 adults/ $12 children!

Tickets: 719-520-SHOW, csphilharmonic.org, or the Pikes Peak Center box office.

THE NUTCRACKER

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Program Notes, continued

He flounders about in the sea of his ideas like a vast and ungainly porpoise, with great puffing and blowing; yet in the end, after tremendous efforts and an almost heroic tenacity, there emerges, dripping and exhausted from the struggle, a real and lovable personality, unassuming, modest, and almost apologetic. His personality is wholly and without admixture English, and this is at once his virtue and his defect.—Cecil Gray, Scottish music critic and composer, regarding Ralph Vaughan Williams.

Ralph Vaughan Williams (1872-1958) displayed promise as a young composer but his talents developed rather late. Born October 12, 1872 in Gloucestershire to the family of a vicar, Vaughan Williams’ early life was sadly impacted by his father’s death in 1875. His mother, great-granddaughter of renowned potter Josiah Wedgwood, took him to live at a Wedgwood family home in the North Downs. (He also had a rather famous great-uncle, scientist Charles Darwin.) Despite his privileged upbringing, Vaughan Williams never rested on his advantages and advocated all his life for democratic and egalitarian ideals.

His early music studies were a flop, as he tried and failed to learn the piano, “which I could never play, and the violin, which was my musical salvation.” He began his formal music studies at the Royal College of music, studying closely with Parry and Stanford, but left to study history and receive a Bachelor of Music degree at Cambridge. He returned to the Royal College to strike up a close friendship with composer Gustav Holst; the two of them would later lead England’s effort to preserve its folk music through recording, notation, and, like Bartok and Kodaly, incorporation into major concert hall works. After his second try at the Royal College, he left for Germany to study with Max Bruch, and then for France to study orchestration with Maurice Ravel, who was three years younger than Vaughan Williams but was producing the most exquisite new sounds from modern orchestras. Upon returning to England, he wrote Fantasia on a Theme by Thomas Tallis, which placed him firmly in the center of England’s musical culture, but his early career would be interrupted by service in artillery and medical corps during World War I. Upon his return, he threw himself into music, conducting the Handel Society and

the Bach Choir and teaching at the Royal College.

In the 1920s, Vaughan Williams’ music won audiences in Europe and the United States, and by the 1930s, he was regarded around the world as the dean of English composition. Still, Vaughan Williams was humble about his craft and troubled by his inability to write a successful opera. This is especially ironic, considering that his symphonic cycle of nine symphonies is unquestionably the finest symphony cycle ever to emerge from England. Still, Vaughan Williams never allowed his success to separate him from the people of England whom he loved dearly, believing that “the composer must not shut himself up and think of art; he must live with his fellows and make his art an expression of the whole life of the community.”

Vaughan Williams wrote two symphonies that were essentially love letters to London—his Symphony No. 2 “London” and Symphony No. 5 in D Major, but although the pieces strongly mirror each other, they were written for two very different Londons. Both symphonies begin with a vision of the city from a distance, delve playfully into life on the streets, and end with a positive look toward the future, but the London of the Fifth Symphony was absolutely decimated by World War II. The unspeakable extent of the destruction was made even more poignant by the missing faces of soldiers and civilians on the streets, in the shops and, most painfully for Vaughan Williams, in London’s orchestras. Sensing a need for hope and comfort, Vaughan Williams conducted the premiere of the Fifth Symphony in Albert Hall on a midsummer day in 1943—a performance which gave the audience such an astonishing moment of compassion and hope that a long, deep silence lingered between the final notes and the thundering applause. From the first phrase, in which a distant train can be heard from horns, the symphony calls Londoners to persevere, rebuild, and look to the future, though the “Romanza” third movement—a stunningly human moment of empathy—takes moment to grieve.

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Two Sunday Services9:00 and 11:00 a.m. (Note Change)

UPCOMING CONCERTSSunday, November 21, 3:00 p.m.

Autumn BountiesPikes Peak Flute Choir Karen Morsch, Director

Free-Will offering

Friday, December 17, 8:00 p.m.Summit by Candlelight Call 633-3562 for tickets

Christmas Eve Services

3:00 Children’s Pageant5:00 Candlelight Service9:00 Candlelight Service

new mobile app ⊲⊲

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Tickets: $9-$22 • Call 520-SHOWFamily and Group Packages Available!

‘Tis the SeasonHere We Come

a-CarolingSunday, December 5, 2010, 3:00 P.M.

Pikes Peak Center

A Holiday Celebration For the Entire Family Featuring the

International Award-Winning Colorado Springs

Children’s Chorale!

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Chamber Orchestra Of T he SpringsP.O. Box 7911

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

www.chamberorchestraofthesprings.org“For the Love of Music”

Whether You Were A Part Of The Audience, Or Unable To Attend,

You Can Now Experience The Award - Winning

Community in UnisonConcert

From Your Own Living Room! Pikes Peak Library District

will broadcast the concert on PPLD TV

(Comcast 17 and Falcon Broadband 75)

Sunday, Nov. 7 - 4 p.m.Tuesday, Nov. 9 - 8 p.m.

Thursday, Nov. 11 - 8 p.m.ALSO

Streaming video on our website at ppld.tv

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Veronika String Quartet

Bring this ad to any concert of your choice for $3 o� on one adult ticket. Available at the door only.Bring this ad to any concert of your choice for $3 o� on one adult ticket. Available at the door only.

Please, visit our website at www.veronikastringquartet.com for more information.

Sunday, February 20, 2:30 PMSunday, March 27, 2:30 PM

Packard Hall, Colorado Springs

Sunday, January 30, 2:30 PMSunday, March 20, 2:30 PM

Sangre de Cristo Arts and Conference Center, Pueblo

Come celebrate the spirit of Christmas in Glen Eyrie Castle’s Great Hall with the Chamber Orchestra of the Springs, featuring conductor Thomas Wilson, soprano Linda Weise, and the Colorado Springs Children’s Chorale.

➤Sunday, December 5th, at 4:00pm➤Sunday, December 5th, at 7:00pm➤Tuesday, December 7th, at 7:00pm➤Sunday, December 19th, at 7:00pm

(doors open 30 minutes prior to each performance)

Tickets on sale now for only $20. See website for details.

w w w . g l e n e y r i e . o r g / c h r i s t m a s • 8 7 7 - 4 8 8 - 8 7 8 7

3820 North 30th Street Colorado Springs, Colorado 80904

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Chamber Orchestra of the Springs SupportersThe following members of our 2010-2011 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.

Concert Sponsor: $2,500 to $4,999Herman Tiemens II

Benefactor: $500 to $999Mary Eiber In Memory of Gary EiberTerence and Elizabeth LillyDr. Stephen & Pamela MarshThe Progressive Insurance Co.Verizon

Sustainer: $250 to $499 Richard and Sandra HiltDoris KneuerBob and Lisa RennickCol. Jim RynningPeggy Houston Shivers In memory of Clarence ShiversMargaret SmithMrs. Barbara Webb – The Web Family Fund of the Pikes Peak Community FoundationThomas Wilson

Supporter: $100 to $249Ann BroshCharlease BoboElizabeth BockstahlerDr. & Mrs. Robert E. CarltonJudy and Chris CunninghamDr. & Mrs. Donald D. DickensonDorothy Kautzman In memory of Daniel KautzmanShirley Kircher In memory of L. T. Kircher, Jr.Mrs. Helen KnappBonnie and Dave LinderAnita R. MareshLynne MillerCharles and Jane MerrittOliver S. and Gerda NickelsHerb & Rhea SiegelJohn F. SlatteryBetty Jane RickelDeb and Lonny WeltzerDon and Marylin WerschkyHarry and Louise Wilson

Friend: $1 to $99Barbara M. ArnestAnn AxelrodWilliam S. BeckerJudith BentonJudy B. Biondini

Dale and Gundi BrunsonChuck and Hallie CabellJ.A. ChampionKathleen Fox CollinsPaul and Janet DavidsonPhyllis DeHartJane DillonSherry L. HallIngrid HartDonald & Gwendolyn JenkinsMarilyn KastelHarriet J. KiddSharon LaMotheJohn & Linda LeFevrePatricia LiptonBarbara LoganHelmut & Joyce MaileRichard & Jean McChesneyJames Terry McIntireMary Elizabeth McKinleyMs. Dion F. MercierDr. & Mrs. George L. MerkertArthur & Barbel O’ConnorRonald & Marie PfisterPatricia PlankLynda Ward SchedlerFrederica A. ThrashWilliam TunstillMary C. WiegerAnonymous

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

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Upcoming ConcertsConcert II: Wind and Sky Sunday, December 12

Arnold • R. Vaughan Williams •Steiner • Mozart Christmas Music TBD

Concert III: Water Sunday, February 20Mendelssohn • Rodgers • G. F. Handel • Bridge

Concert IV: Fire Sunday, May 8Saint-Saens • Haydn • Stravinsky Concerto Competition Winner

• All Concerts at 3:00 p.m. • Sand Creek High School • 7005 N. CarefreeCall 685-6468 for tickets or information, or go to www.pikespeakphil.org

pikes peak philharmonicDavid Rutherford, Conductor

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Thank You!The members of the Chamber Orchestra play “for the love of music” and for you, our audience. Our music is brought to you by the support of generous individuals, foundations and corporations who share the vision of the Chamber Orchestra of the Springs being a vital part of the artistic life of our community. We are very grateful for their contributions; they are appropriately identified and acknowledged on pages 21 & 23.

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...Blueprints, Inc. for printing services

Sylvia Hutson for her work with graphic design and layoutFirst Christian Church for the use of their wonderful sanctuary

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

KCME-FM 88.7, A Voice for the Arts, for concert publicityTom Kratz for the use of the podium

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

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!

The Chamber Orchestra of the SpringsWould Like to Thank

Our Volunteers: Emily Alexander

Matthew AlexanderMembers of the Colorado Springs Conservatory

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