Chamber Orchestraof the Springs

2008 - 2009Twenty-Fifth Anniversary Season

Thomas Wilson, Music Director

For the Love of Music

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We proudly salute the Chamber Orchestra of the Springs

for its outstanding contribution to the music arts in our community.

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The people with an eye for investments salute the people with an ear for music.

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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:u

Print Media Sponsor Printing Services

President: Charlease BoboVice President: Lynn Hurst

Secretary: Anita MareshJay Norman: Treasurer

Nasit AriBill Flitter

Michael GraceJohn LeFevre

Bettina SwiggerLinda WeiseDavid Ball

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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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Chamber Orchestra Of The SpringsThomas Wilson, Music Director

Season FinaleApril 25, 2009, 7:00 PM, Broadmoor Community Church

April 26, 2009, 3:00 PM, First Christian Church

Felix Mendelssohn Bartholdy Ruy Blas Overture, op. 95 (1809-1847)

Ludwig van Beethoven Concerto for Violin in D Major, op. 61 (1770-1827) I. Allegro ma non troppo II. Larghetto III. Rondo (Allegro) Desiree Cedeno-Suarez, violin

INTERMISSION

Gabriel Fauré Cantique de Jean Racine, op. 11 (1845-1924) Colorado Springs Children’s Chorale: Pikes Peak Singers; Lori Bammesberger, director

Requiem, op. 48 I. Introït et Kyrie II. Offertoire III. Sanctus IV. Pie Jesu V. Agnus Dei VI. Libera me VII. In paradisum Lori Bammesberger, soprano James Sena, baritone Colorado Springs Children’s Chorale: Summit Ensemble; Brad Petersen, director

uThe Chamber Orchestra of the Springs

Acknowledges With Great Thanks Music Donations Made For This Concert:

Faure Requiem Donated by Anita Maresh in memory of Charlie Hollister Beethoven Violin Concerto Donated by Charlease Bobo in memory

of violin teachers Melba Thrasher and Hazel McEldowney

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Congratulations toChamber Orchestra of the Springs

on 25 seasons of

beautiful music and

innovative programming.

Conductor is Master Collaborator (From the March newsletter of the Bee Vradenburg Foundation)

The Bee an Arts Leader Award, presented by the Bee Vradenburg Foundation, honors Bee’s legacy by recognizing an individual who has demonstrated sustained, passionate and innovative leadership toward advancing the arts in the Pikes Peak region. We are thrilled this year to honor Thomas Wilson. Quite simply, Wilson is the master conductor of collaboration. It takes more than waving a baton to bring together musicians, artists, students and a range of nonprofit arts organizations, but Wilson does it with ease. Wilson excels at aligning diverse segments of the arts community for collaborations that are artistically invigorating and always exciting. He especially provides a forum for new works to be premiered and local artists to have their moment on stage. Wilson serves as associate conductor of the Colorado Springs Philharmonic and music director of the Chamber Orchestra of the Springs. Wilson also serves on the music faculties of Colorado College and the Colorado Springs

Conservatory, and he is a frequent guest conductor across the country. He also founded Young Concert Artists, now called Peakharmonic Youth Orchestra, and he serves on the steering committee to form a cultural plan for the region. Wilson was honored at the annual Arts / Business / Education luncheon on April 15 at the Antlers Hotel.

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First Violin*1 Cynthia Robinson

Anita MareshKay WehoferErika DevinsJulie Swanty

Melanie Richards

Second Violin*Debora Falco

Alexander MagalongLydia Campbell

Haibo FeiDan MastersonCharlease Bobo

Viola*Diana Zombola**Keith Russell

Deborah WeltzerRebecca HarrisonMatthew Canty

Cello*Ramona McConkie**Annemarie Dawson

Tori BardinStephanie Boese

String Bass * Cathy

Camp-DavidsonJoseph Head

Flute*Phyllis WhiteCheryl Stauffer

Oboe* Nancy Brown

Carla Scott

Bassoon* Shirley Plumer

John Lawson

Thomas WilsonConductor

The Players of the

Chamber Orchestra of the Springs

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

Timpani *Scott Bruce

Trumpet*Bill FlitterDan Bell

French HornMat Evans

Christina Schwartz-SoperRandy Powers

Jen Daigle

*1Concertmaster Chair sponsored by Virginia Snow and John Carter

Clarinet*Jay NormanAlan Siegel

TromboneRick CraftsDan Wiley

Roger Yunker

HarpMegan Prahl

OrganCarol Wilson (FCC)

Charlene Noland (BCC)

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Program NotesSeason Finale

To the Noble Artist, who, surrounded by the Baal-like worship of debased art, has been able, by his genius and science, to preserve faithfully, like another Elijah, the worship of true art, and once more accustom our ear, amid the whirl of empty, frivolous sounds, to the pure tones of sympathetic feeling and legitimate harmony: to the Great Master, who makes us conscious of the unity of his conception, through the whole maze of his creation, from the soft whispering to the mighty raging of the elements. –Inscribed in grateful remembrance of Mendelssohn by Prince Albert at Buckingham Palace on April 24, 1847.

Felix Mendelssohn (1809-1847) was shockingly gifted as a child. He painted with skill, wrote flowing poetry, succeeded in sports, spoke several languages, played several instruments, and completed one of the great chamber works of the nineteenth century—his Octet for Strings—at the age of only sixteen. He was born into a wealthy Jewish-German family, and his talents were encouraged by his parents and, most of all, by his sister, with whom Felix would maintain the closest of friendships throughout his life. He made his concert debut in 1818, met and befriended Goethe when he was only 12, and in 1826 (a year after the Octet) composed his overture to A Midsummer Night’s Dream, which established his reputation internationally. Despite all that success, it was after three years of study at Berlin University that he finally decided upon a career in music!

At the age of 20, Mendelssohn became a champion of the music of Bach, which had passed into obscurity throughout Europe. He led the first performance of Bach’s St. Matthew Passion since the composer’s death in 1750. Near the end of the year, he made his first visit to England, where he was widely lauded as both pianist and composer. After touring in Scotland, he returned to the European mainland to spend two years touring Germany,

Austria and Italy. He visited England again in 1832 and 1833 and became a popular guest with what would become the London Philharmonic. In 1835, he took the conducting post with the Leipzig Gewandhaus Orchestra. In 1843, he established a music conservatory in Leipzig, assisted by Robert Schumann. In 1847, he made his tenth and final visit to England, where he befriended Queen Victoria and taught piano to Prince Albert. In May of that year, his beloved sister Fanny died and the shock if this loss, together with the pressure of severe overwork, led to his own death six months later.

Mendelssohn read Victor Hugo’s tragic drama, Ruy Blas, in 1839 and is said to have hated it. Nonetheless, the drama became something of a popular favorite in much of Europe, so Mendelssohn must not have been surprised when, shortly after reading the work, he received a commission to write an overture based it. He accepted the commission and wrote his Ruy Blas Overture, op. 95 in a few short weeks. Despite his dislike for the play itself, Mendelssohn opted to capture the big ideas—great passions and irreconcilable conflicts—and created a powerful dramatic work that ranks among the most effective and frequently performed of his overtures.

Keep your eye on him; he will make the world talk about him some day.—Mozart, in a letter to his father dated 1787, after meeting Beethoven. Beethoven was the pillar of smoke that led to the Promised Land.—Franz Liszt.

Beethoven’s time was one of revolutions and wars, terror and reform, poverty and extravagance and in many ways his music reflects the turbulence of the age in which he lived. Austria was at war with Ottoman Turkey, the French were in dispute with

Continued on page 11

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Program Notes, continuedAustria, and England with France. The fall of the Bastille in 1789 was a sign of the end of the old order, extinguished forever. The period brought wide cultural changes, changes in political philosophy and society, and in the arts. Beethoven is seen as the bridge from the restraint and preoccupation with form of the Classical era, to the wildly personalized and emotional Romantic era. Beethoven had a remarkable musical output. Just to name a few: 32 piano sonatas, 16 string quartets, 6 piano concerti plus a fragment (of which only 5 remain in the repertoire), 10 violin sonatas, 4 cello sonatas, 172 folk song arrangements, 60 canons and “musical jokes,” at least 2 ballets, an opera (“Fidelio”), and a large number of other works for chamber ensembles, choir, voice … and 9 great symphonies that still represent the highest consistent level of symphonic output by any composer in history.

Ludwig van 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 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, by teaching piano, and increasingly 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 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

Continued on page 12

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Fauré was the youngest of six children and a precocious talent. When he was nine, his parents sent him to the Niedermeyer School in Paris, known for its training in church music, and that training influenced Fauré throughout his career. In 1861, Saint-Saëns arrived at the school to teach piano, broadening Fauré’s outlook with music of Wagner and Liszt, and a lifelong friendship formed between them.

Fauré started his professional career as an organist but was pulled away for service in the Franco-Prussian war of 1870. After returning to church music, he was deeply moved at hearing the Wagner’s Ring cycle. He managed to take the best aspects of Wagner without joining the legions of Wagner imitators of the day. In 1896, he obtained a professorship of composition at the Paris Conservatory, where his influence was felt for decades through influential students like Maurice Ravel and Nadia Boulanger. He eventually became director of the Conservatory, which proved a mixed blessing, as he found less and less time for composition. Worse yet, his hearing started to fail, forcing him to pare down his harmonic language and leaving him looking outdated and obsolete during the rush of late Impressionism and modernism that was sweeping through France.

Fauré wrote Cantique de Jean Racine, op. 11 for mixed chorus and piano or organ. Written by the nineteen year old composer in 1864-5, the piece won him first prize when he graduated from the Niedermeyer School. It was first performed on August 4 the following year, with accompaniment of strings. The accompaniment has also been arranged for strings and harp by John Rutter. The text, Verbe égal au Trés-Haut, is a paraphrase by Jean Racine (Hymnes traduites du Bréviaire romain, 1688) of the pseudo-ambrosian hymn for Tuesday matins, Consors paterni luminis.

1826, when the young man attempted suicide. Shortly thereafter, Beethoven’s health began to fail, and he died on March 26, 1827 in Vienna.

Beethoven’s Violin Concerto in D Major, op. 61 suffered greatly from the lackadaisical attitude toward concerti in Beethoven’s time. It was common, at that time, for orchestras to sight-read accompaniments in performance, and, in this case, the soloist hadn’t given much thought to Beethoven’s work. On December 23, 1806, Franz Clement gave the first performance without having even seen the piece. Not surprisingly, the performance fell flat with the press, which found more interest in Clement’s “entertainment” between the first two movements, in which he played a sonata of his own composition on one string with his violin upside down. The concerto fell into obscurity until Joseph Joachim revived it in a series of concerts conducted by Mendelssohn. Beethoven was later persuaded by his publisher to write a piano concerto based upon the violin concerto, but the piano version is highly problematic, as Beethoven opted not to fill out the solo part entirely, most likely due to his dislike of rearranging his own works.

Music moves me all the more when the methods used are clear, correct, precise, and even concise.—Fauré

Gabriel Fauré (1845-1924) wrote those words in 1896 at the age of fifty-one. By then he had composed a quantity of orchestral music, but there were no symphonies or concertos, and none to follow. Instead, he applied his principles of clarity, precision and concision to smaller musical forms. Composition for Fauré was primarily “for music’s sake”—the pure idea.

Program Notes, continued

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

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Program Notes, continued

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The Colorado College

Summer Music Festival“The excitement,

beauty, and intimacy

of classical music”

The 25th Season!

Save the dates for this exciting anniversary season: June 6th - June 30th

719.389.6098 w summer@ColoradoCollege.edu www.ArtsFestival.ColoradoCollege.edu/MusicFestival

Cantique de Jean Racine

Verbe égal au Très-Haut, O, divine Word above, Notre unique espérance, Our hope and consolation, Jour éternel de la terre et des nuit; Eternal light of the heav’ns and the earth; Nous rompons le silence, Our voices greet the morning; Divin Sauveur, jette sur nous les yeux! Look down, O Lord, and hear they people’s prayer! Répands sur nous le feu de ta grace puissante, Inspire us, Lord, we pray, with the pow’r of thy Spirit, que tout l’enfer fuie au son de ta voix. that hell may flee before thy mighty word. Dissipe le sommeil d’une âme languissante, From slumber waken us, our weary souls reviving, qui le conduit à l’oubli de tes lois! that we may never forget all thy laws! Ô Christ, sois favorable à ce people Lord Jesus Christ, have mercy on thy congregation fidè le pour te bénir maintenant rassemble; now gathered here in the sight of thy throne; Reçois les chants qu’il offre à ta gloire immortelle; Receive the hymns they offer to thy endless glory; Et de tes dons qu’il retourne comblé. Renewed by thy gifts may they go forth in peace.

Fauré began his Requiem, op. 48 in the summer of 1887. The original version had only five movements and premiered in that form at the Madeleine Church in Paris (where Fauré was organist) on January 16, 1888, as part of a “first-class” funeral for a wealthy parishioner. The “Offertory” and “Libera Me” were added later. In discussions with his publisher, Fauré opted for further revisions in the instrumentation. The final version, in which

Fauré’s pupil Roger Ducasse may have made many of the revisions, was premiered in 1900 and the published score emerged in 1901. Fauré was candid with conductors of his Requiem, loudly stating his preference for a bright, vigorous soprano soloist as opposed to “old goats who have never known love,” and for “a soothing bass-baritone with something of the precentor in him” who can sustain “the calm and gravity the part requires.”

Requiem translations continue on page 15

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Introit and Kyrie Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam; ad te omnis caro veniet. Kyrie eleison. Christe eleison.

Offertory O Domine Jesu Christe, rex gloriae, libera animas defunctorum de poenis inferni, et de profundo lacu. Libera animas defunctorum de ore leonis, ne absorbeat Tartarus, ne cadant in obscurum. Hostias et preces tibi, Domine, laudis offerimus, tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti, et semini ejus.

Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt ceoli et terra gloria tua. Hosanna in excelsis.

Pie Jesu Pie Jesu Domine, dona eis requiem, sempiternam requiem.

Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem, sempiternam requiem. Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Libera me Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra. Dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Dies illa, dies irae, calamitatis et miseriae. Dies illa, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

In paradisum In paradisum deducant angeli, in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam Jerusalem. Chorus angelorum te suscipiat, et cum Lazaro quondam paupere habeas requiem.

Grant them eternal rest, Lord, and may perpetual light shine upon them. A hymn, O God, becometh thee in Sion, and a vow shall be paid to thee in Jerusalem. Hear my prayer, to thee all flesh shall come. Lord, have mercy. Christ, have mercy.

O Lord Jesus Christ, king of glory, deliver the souls of the dead from the pains of hell, and from the deep lake; deliver the souls of the dead from the lion’s mouth, let not Tartarus swallow them, nor let them fall into darkness. We offer prayers and sacrifices to thee, O Lord, together with praise; receive them in behalf of those souls whom we this day commemorate. Grant, O Lord, that they pass from death to life, as thou didst promise to Abraham and to his seed.

Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest.

Blessed Lord Jesus, grant them rest, everlasting rest.

Lamb of God, who takest away the sins of the world, grant them rest, everlasting rest. May eternal light shine upon them, Lord, with thy saints in eternity, for thou art merciful. Grant them eternal rest, Lord, and may perpetual light shine upon them.

Deliver me, Lord, from eternal death, in that awful day when heaven and earth shall be moved, when thou shalt come to judge the world by fire. Full of terror am I, and fear the trial and wrath to come. That day shall be a day of wrath, of calamity and misery. That day shall be a mighty one and exceedingly bitter. Grant them eternal rest, Lord, and may perpetual light shine upon them.

May the angels receive thee in paradise; at they coming may the martyrs receive thee, and bring thee into the holy city Jerusalem. May the choir of angels receive thee, and with Lazarus, once a beggar, mayst thou have eternal rest.

Requiem

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guest artistsDesiree Cedeno-Suarez, ViolinDesiree Cedeno-Suarez, originally from Venezuela started violin lessons when she was 10 years old in the Boulder Public Schools. Desiree received her Bachelor in music from the University of Northern Colorado, and then went on to graduate school at the University of Minnesota, Twin Cities. In Minnesota she studied with Jorja Fleezanis, the concertmaster of the Minnesota Orchestra. Ms. Cedeno-Suarez then won a position as a fellow of the New World Symphony, the leading orchestral academy in the United States. She has been a soloist with the Boulder Philharmonic Orchestra, the Boulder Youth Symphony, as well as

the National Repertory Orchestra. Her orchestral experience has taken her to all different parts of the world, from Korea, to Latin America, as well as Europe. She has had the privilege of working with world renown conductors such as Michael Tilson Thomas, Eiji Oue, Jean-Pascal Tortelier, Stanislaw Skrowaczewski, Robert Spanno, and Zdenek Macal. In 2004 Ms. Cedeno-Suarez came to Denver, where she has had the privilege of playing up and down the Front Range with groups like the Colorado Springs Philharmonic Orchestra, The Boulder Philharmonic, the Fort Collins Symphony, and the Cheyenne Symphony. She is currently residing in Denver, where she is enjoying being close to her family for the first time in 10 years, as well as acquainting herself with her nephew and niece, Ethan and Elina. Ms. Cedeno-Suarez is a Shivers Fund Artist.

The Colorado Springs Children’s ChoraleThe Colorado Springs Children’s Chorale, was founded in 1977 as a civic children’s choir with an initial enrollment of 25 children. The Children’s Chorale now includes over 200 children from throughout the Pikes Peak Region in five choirs including children age 7 through high school. These young people have sung with symphonies, chamber orchestras, and adult chorales, and other children’s choirs from all over the world.

The Chorale’s musical excellence has earned them national recognition as one of the country’s outstanding children’s choirs, and invitations to international choir festivals, where they have been honored with three first place Gold Medals, competing with exceptional choirs from around the world. In the spirit of international exchange, the Colorado Springs Children’s Chorale has traveled to Japan five times. Other international tours have included Australia, New Zealand, Austria, Poland, Czech Republic, Hungary, Wales, Scotland, and England. The Children’s Chorale has been honored as guest performers at the Kennedy Center in Washington

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guest artists

D.C. and at Carnegie Hall in New York City. Recently, the Colorado Springs Children’s Chorale was the recipient of the El Pomar Award for Excellence in the Arts and Humanities for the state of Colorado, and the Mayor’s International Award for International Outreach. The Children’s Chorale pioneered the Pikes Peak International Music Festival - In Harmony in 2004. The festival has now traveled to Japan (2005 & 2007), Chicago (2006) and Salt Lake City (2008), including young singers from across the nation and around the world.

The heart and spirit of the Colorado Springs Children’s Chorale are firmly rooted in Colorado and the Colorado Springs community. Their outreach programs within the state include many residencies and workshops, the Adopt-a-School program, School Blitz days, All City Boychoir Festival, and concerts all over the state for groups including Pikes Peak Hospice, Cancer Survivors, CASA, and senior residence homes.

The Colorado Springs Children’s Chorale performances are noted for their purity of tone, beautiful harmonies, and lively choreography. The children of Colorado Springs Children’s Chorale have the ability to touch the emotions of their audiences through music and reinforce their mission of “sharing our dreams of a better world through song.”

The members of the Children’s Chorale’s Pikes Peak Singers and Summit Ensemble are performing today.

Lori Bammesberger, SopranoMs. Bammesberger is on staff with the Colorado Springs Children’s Chorale and is a private voice instructor. She holds a Bachelor of Music Education degree from Angelo State University in San Angelo, TX and a Masters in Music, Voice Performance/Opera from the University of North Texas in Denton. Ms. Bammesberger has appeared in numerous concert performances in Colorado Springs and Denver with the Colorado Vocal Arts Ensemble (member since 1995), Colorado Springs Chorale, Denver Brass, Colorado College Choir and Orchestra, and First Presbyterian Sanctuary Choir and Orchestra.

Jim Sena, Bass BaritoneJim’s singing experience up and down the front range includes membership with many arts organizations, including the Colorado Vocal Arts Ensemble, the Taylor Memorial Choir and Schola of Grace Episcopal Church, the Opera Theater of the Rockies, the Colorado Springs Fine Arts Center, the choirs of Colorado College, as well as soloist appearances with many musical organizations including the Chamber Orchestra of the Springs, Soli Deo Gloria, First Christian Church, St. Paul’s Catholic Church, Sacred Heart Catholic Church, Family of Christ Lutheran Church, while lightening things up a bit in a mixed jazz quartet, the Broadmoor Harmony. Jim resides in Colorado Springs with his wife and 3 daughters.

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The Chamber Orchestra of the Springs

“For the love of music”Join Maestro Thomas Wilson and your Orchestra for the 2009 - 2010 season!

Season PremiereOctober 10th and 11th, 2009

Martinu, Clark, & Tchaikovsky

The Chamber Orchestra has a reputation for bringing new and wonderful music (and

plenty of “forgotten gems”) into the lives of Springs residents. Bohuslav Martinu’s vaguely named “Overture” is a tour de

force for orchestra that he later acknowl-edged as one of his finest works, while Tchaikovsky’s First Orchestral Suite,

though rarely performed, is mature and vibrant music composed on a break from

symphonic form after his Fourth Symphony. Completely new to Colorado Springs is the

music of Rebecca Clarke, an American composer whose inspired and

lyrical music is only now getting the recognition it deserves.

Heart and HomeNovember 7th and 8th, 2009

Wagner, Still, Nielsen, Dvorák

Matters of the heart dominate our November program, with rising New York

soprano Rochelle Small in a stunning performance of William Grant Still’s

charming “From the Hearts of Women.” Wagner’s “Siegfried Idyll” was a

housewarming gift to his wife as they settled into their new home. Rounding out

the program are Nielsen’s dynamic Clarinet Concerto and Dvořák’s soulful

“Czech Suite.” This is likely to be the most poignant concert of the season.

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Unmatched EleganceJanuary 30 and 31st, 2010Haydn, Resphighi, Elgar,

Mendelssohn

A special visit from the Veronika String Quartet headlines an evening of truly

unmatched elegance. The Romanticism of Elgar and Mendelssohn share the stage

with the lyricism of Respighi’s Ancient Airs and Dances and the timeless simplicity of

Haydn, performed with special guest Carol Wilson.

Virtuosity!February 27th and 28th, 2010

Mozart, Haydn, Cardoso, Weber

In collaboration with the Guitar Society of Colorado Springs, the Chamber Orchestrafeatures two of the finest guitarists from the

American continent in a new gem: SuiteIndiana by Jorge Cardoso. Meanwhile, the best talent from the orchestra step up forHaydn’s masterful Sinfonia Concertante, and the concert is rounded out by rare

performances of Mozart and Weber sym-phonies. This is virtuosity at the height of

musical expression.

Season FinaleApril 17th and 18th, 2010

Hennessy, Fauré, Gottschalk, Beethoven

Susan Grace joins the Chamber Orchestra in Fauré’s haunting Ballade and Gottschalk’sincendiary Tarantelle for Piano and Orchestra. As if a Beethoven Symphony weren’t

enough fire to end the season, rising film and television composer Sean Hennessy, whogrew up in Colorado Springs, returns with a new concert work reflecting on his days

in the shadow of the Peak.

See the back page of our current Season Finale program for

information on how to purchase your season tickets today!

www.chamberorchestraofthesprings.org719-633-3649

chamorch@gmail.com

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Chamber Orchestra of the Springs Supporters

The following members of our 2008-2009 Season audience are as passionate about the activities of theChamber Orchestra of the Springs as are its players and Board of Directors. We offer them our heartfelt gratitude.

Season Sponsor $10,000 -$24,999The Bee Vradenburg Foundation

Concert Sponsor$2,500-$4999 Colorado Springs Symphonic GuildNasit Ari and Libby Rittenberg

Conductor’s Circle$1,000-$2,499 The Hester and Edwin Giddings FoundationSam and Mary Alice HallMrs. Katherine H. Loo – The Dusty and Kathy Loo Fund of the Pikes Peak Community FoundationVirginia Snow and John Carter Concertmatster UnderwritersTerry and Darryl ThatcherHerman Tiemens Benefactor$500-$999 Broadmoor Community ChurchFidelity Charitable Gift Fund – Bain Family Foundation, Mr. Norton BainMichael and Susan GraceWalt and Esther HarderAnita MareshPam MarshThe Progressive Insurance FoundationThe 10 N. Tejon Fund of the Pikes Peak Region

Supporter$250-$499 Judy B. BiondiniRaymond and Barbara BrownCharles P. and Helena C. CabellDr. and Mrs. Robert E. CarltonCara and Jim GreenhalghRichard and Sandra HiltHelene L. KnappTerence and Elizabeth LillyDr. and Mrs. George L. Merkert Jr.Karen E. PeaceBob and Lisa RennickCol. Jim Rynning and IrvingBarbara Webb

Friend$1-249 Susanne and Michael AnselmiRay and Airene AvischiousAnn AxelrodLarry and Eve BarrettWilliam S. BeckerCharlease BoboMr. and Mrs. Charles E. Bobo – In Honor of CharleaseWes Bolin and Eileen M. ReillyMartha H. BoothWalter and Harriet BrooksAnn BroshMary Margaret BrummelerDale E. BrunsonDuncan and Judith BurdickMarie CheneyBarbara J. ColeKathleen Fox Collins – In Honor of David BallPatricia Crucer and Jack M. ShuttleworthJudy and Chris Cunningham

Paul and Janet DavidsonPhyllis DeHartJill DemetryDiana DiMaraDonald and Robin DickensonMary J. EiberVerdie and Norma Ellingson Elisabeth J. FleenorElizabeth M. FrancisElaine E. FreedEd GallagherElinor J. GarriquesI. Von Der GathenLiz and Chuck GeissSusanna and Fred GnadingerAdam and Alicia GoldDimitr S. GotseffSherry L. HallMs. Rose Elnor HammanIngrid HartRichard and Sandra HiltPat and Bill HudsonMr. and Mrs. Dunning Idle IVDonald and Gwendolyn JenkinsKathy JensenLynn A. JohnsonRon and Sandie JohnsonSheldon and Betty JonesGaylia JonesFrank and Elfiede Jopp Marilyn KastelDaniel and Dorothy KautzmanShirlee D. KelleyHarriet Kidd Mina C. KiddCherry and Jack KinneyDr. and Mrs. Laurence T. KircherDoris J. KneuerSharon LaMothe

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Friend (continued)Sharon LaMotheJohn F. LeFevreBonnie and Dave LinderPatricia LiptonBarbara LoganRichard and Jean McChesneyMary McKinleyDion F. MercierCharles and Jane MerrittLynne MillerHelen MurrayAnn J. NelsonMary Jean NelsonOliver S. and Gerda Nickels

Jay Norman Janet NormanArthur and Bärbel O’ConnorWanda OelrichPatricia PlankBetty Jane RickelTed and Phyllis RothJanice SchoberPhil and Jan ShoberLori SchwartzAlan Siegel and Edith GreeneHerb and Rhea SiegelJohn F. SlatteryMargaret SmithBarbara and David St. André

Marilouise SullivanL.W. TatumRobert H. TaylorCharles TheriotFrederica A. ThrashCarol TownsleyWilliam TunstillWilliam and Joyce UnderwoodI. Von Der GathenMary WeigerDon and Marylin WerschkyPhyllis V. WhiteHarry and Louise WilsonJulienne Wilkinson

Chamber Orchestra of the Springs Supporters

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For more information please visit our website at www.veronikastringquartet .com

$15 for adults$7.50 for students

Works by Wolf,Shostakovich and Schubert

Sensuous Schubert

Saturday, April 25, 2009 at 7:30pmAll Souls Unitarian Universalist Church

730 N. Tejon, Colorado Springs

Sunday, April 26, 2009 at 2:30pmSangre de Cristo Arts and Conference Center

210 N. Santa Fe, Pueblo Tickets for this performace are available at the door,

in advance at the Sangre de Cristo Art Center box office,or by calling (719) 295-7200

Tickets for this performace are available at the door,by calling (719) 576-2626 or toll free (866) 464-2626,

at all Tickets West locations, or www.ticketswest.com

Veronika String Quartet

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“For the Love of Music”

Chamber Orchestra of the Springs 25th Anniversary Campaign

Our success is for you and because of you.

We have passsed the 60% milestone in our $50,000 Campaign to serve you even better.

Please consider joining our Campaign and help us tomatch a recently issued Challenge Grant from the

Gay & Lesbian Fund for Colorado

Contributions from your fellow music lovers already helped us tomatch grants from Bee Vradenburg & Giddings Foundations,

and Colorado Springs Symphonic Guild.

For more info about the Campaign please contactchamorch@gmail.com or 719 332 3109

Sponsorship LevelsSeason Sponsor $10,000+Season Underwriter $5,000 - 9,999Concert Sponsor $2,500 - 4,999Conductor’s Circle $1,000 - 2,499Benefactor $500 - 999Supporter $250 - 499Friend $1 - 249

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Mail contributions toPO Box 7911

Colorado Springs, CO 80933-7911

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PILLARLearning just for the fun of it!

30 E Rio Grande - Colorado Springs, CO 80903

www.visitpillar.org719-633-4991

We provide over 300 learning opportunities to members each year.

Join us for fun filled trips and tours. Attend classes on topics such as health, music,

literature, history and much more!

May 3Pictures and Stories

Torke • Borodin • Tchaikovsky Concerto Competition Winner

Concert at 3:00 p.m. at Wasson High School, 2115 Afton Way

Call for tickets or information 685-6468 or go to www.pikespeakphil.org

David RutherfordConductor

•Large Format Digital Scanning and Printing•Large Format Color Scanning and Printing

•Specification Manual Printing • Fully DigitalColor Copies • Digital Archiving

634-4894319 S. Nevada

Colorado Springs, CO 80903

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Thank You!The members of the Chamber Orchestra play “for the love of music”, and for you, our audience. Our music is brought to you by the support of generous individuals, foundations and corporations who share the vision of the Chamber Orchestra of the Springs being a vital part of the artistic life of our community. We are very grateful for their contributions; they are appropriately identified and acknowledged on page 20 & 21.

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...

Colorado Springs Symphonic Guild for theirsupport of this concert series

Blueprints, Inc. for printing services

Sylvia Hutson for her work withgraphic design and layout

First Christian Church for the useof their wonderful sanctuary

Broadmoor Community Church for theuse 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 professionalassistance with accounting

First Lutheran Church for useof their rehearsal space

Chamber OrchestraOf The Springs

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

(719) 633–3649www.chamberorchestraofthesprings.org

For the Love of Music u

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Between the end of this concert andthe beginning of the next,

you can hear fine symphonic and chamber music on

KCME ��.� FMAll Classical

Member Supported Independent Public Radio

1921 North Weber StreetColorado Springs, CO 80907

(719) 578–5263

Browse and listen at www.kcme.org

Manitou Springs 90.9 FMCripple Creek/Victor 89.5 FMCañon City/Florence 91.1 FM

Salida 89.5 FM

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Colorado Springs Children’s Chorale

A concert of songs celebrating the places(And people and music and artistic graces)

That Broadway can take us, spanning the milesGiving us laughter, great times, and bright smiles!

With Special Guest Georgianne LymberopoulosSunday, May 17, 2009 3:00 P.M.Lobby Activities* begin at 2:00 p.m.Pikes Peak CenterTickets: $11 - $20 (Group Rates Available)Pikes Peak Center Box Office - 520-SHOWCall 633-3562 for information * Dr. Seuss, Seuss-land Activities & Silent Auction

CSWA Youth &Community Fund

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The Chamber Orchestra of the Springs

“For the love of music”Join Maestro Thomas Wilson and your Orchestra for the 2009 - 2010 season!

You can purchase tickets today at our box officeor reserve and pay for your tickets to be mailed to you in September.

**Season Ticket Holders Will Be Given Preferential Seating**Just fill out the information below:

Name:_____________________________________________________________________

Address:____________________________________________________________________

City:________________________________ State:____________ Zip:_________________

E-mail:_____________________________________________________________________

Tickets:Adult Season _______ at $75 = ___________

Senior Season _______ at $50 = ___________

Student Season _______ at $25 = __________

Total: ____________

Method of Payment (check one):

Cash: _______

Check:______ Check No.:____________

Credit Card: Visa ____ Mastercard____

Credit Card No:

__________________________________

Exp:__________

Signature:__________________________

Picked up at season finale: ______

Please mail in September: ______

I/We plan to attend mostly: ___Sat ____Sun