28th Season 2011 - 2012

Season Finale - Voice of the RomanticMay 5 & 6, 2012

For the Love of Music

Thomas Wilson, Music Director

Chamber Orchestraof the Springs

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A Midsummer Night’s Music VI I Tuesday, June 5th, 6 PM

Hillside Gardens • 1006 S. Institute St.A Benefit Concert for

Chamber Orchestra of the SpringsThomas Wilson, Music Director

Music Performed Under Colorado Summer Skies bySmall Ensembles and the

Chamber Orchestra of the Springs The beauty of Hillside Gardens in Spring, with the mountains as the backdrop, is the setting for a serenade performance of Aaron Copland’s Appalachian Spring in its original 13-instrument orchestration. Joining the orchestra for this beautiful evening are favorite clarinet soloists Sergei Vassiliev and Ian Buckspan,

premiering a new work to celebrate the occasion by local composer Daniel Gilbert. Wander the Gardens, Enjoy the Music, Relish the Food and Drink While Supporting the Chamber Orchestra This is the perfect way to celebrate the height of Spring and the arrival of Summer.

Picnic Supper Catered by Blue Sage Catering

Bar Available (extra cost)

$40 Per Person In Advance$50 After June 1

Purchase tickets today at theconcert box office, online at

www.chamberorchestraofthesprings.org or by calling 633-3649

For more details, including the program and menu, please visit: www.chamberorchestraofthesprings.org

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Chamber Orchestra Of The SpringsThe 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.

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

Print Media Sponsor

J. H. Edmondson Foundation

H. CHasE stonE trust

Chamber Orchestra Of The SpringsP.O. Box 7911

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

www.chamberorchestraofthesprings.org

“For the Love of Music”

Board Of TrusteesNasit Ari, PresidentCharlease Bobo, Past PresidentMichael Grace, Vice PresidentNicole de Naray, TreasurerHelene Knapp, Volunteer CoordinatorChuck CabellRebecca Harrison

Susan LoringPam MarshJay NormanKaren PeaceChristina Soper-SchwartzGlen WhiteheadSylvia Hutson, Administrative Manager

John G. Duncan Charitable Trust

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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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~ e-mail: purpleelephantrealty@msn.comSupporting the ARTS in the Pikes Peak Region for over 30 years.phone: 719.599.5962

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Note to self: 1. Contact Purple Elephant Realty 2. Buy a house 3. Create a home 4. Start building memories

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Chamber Orchestra Of The SpringsThomas Wilson, Music Director

Season FinaleVoice of the Romantic

May 5 & 6, 2012Camille Saint-Saëns La Muse et le Poète (1835 – 1921) Jacob Klock, violin Gerald Miller, cello

Frédéric Chopin Andante Spianato and Grande Polonaise, op. 22(1810 – 1849) Angelina Gadeliya, piano

INTERMISSION

Robert Schumann Symphony No. 2 in C Major, op. 61(1810 – 1856) I. Sostenuto assai; Un poco piu vivace; Allegro man non troppo; Con fuoco II. Scherzo: Allegro vivace (Trios I & II) III. Adagio espressivo IV. Allegro molto vivace

The Chamber Orchestra of the SpringsAcknowledges With Great Thanks Music Donations Made For This Concert:

Chopin, Andante Spianato and Grande PolonaiseDonated in honor of Judy Biondini’s 60th birthday, her many years of dedication to the

musical community of Colorado Springs, and her recent piano concerto debut in Tyler, Texas.

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Colorado Springs/Manitou Springs/Pueblo – 88.7 FM I Woodland Park – 93.5 FM I Salida/Buena Vista – 88.1/89.5 FM Cripple Creek/Victor – 89.5 FM I Canon City/Florence – 91.1 FM I Summit County - 89.3 FM www.KCME.org

find your passion for classical music

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First Violin*1Jacob Klock

*2 Kristen KunkelTerri Moon

Kay WehoferDagmar Mock

Gregory Gershteyn

Second Violin*Katherine Jones

**Kelly Dean PilarczykDeborah Youngerman

Ryan StaufferAndrea BullockCharlease Bobo

Viola*†Matthew CantyDan MastersonCalvin Peters

Diana ZombolaRebecca Harrison

Cello*†Gerald Miller

**Norah ClydesdalePam Chaddon

Dylan Tyler

String Bass*Jay McGuffin

Michael Vunovich

Flute*Phyllis WhiteKaren Morsch

Oboe*Nancy Brown

Carla Scott Bassoon*Greg BrownJohn Lawson

Thomas WilsonConductor

The Players Of The Chamber Orchestra Of The Springs

*1 Concert Master*2 Asst. Concertmaster* Principal** Asst. Principal*† Acting Principal

Timpani *Carl Cook

Trumpet*Glen Whitehead

Dan Bell

French Horn*Mathew Evans

Stephenie Osman Clarinet*Jay NormanHeike Gazetti

Trombone*David QuintanarAndrew Converse

Bass Trombone*Bruce Blomquist

Harp*Joni Martin

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Featured Artists Gerald Miller has been the principal cellist with the Fresno Philharmonic for nearly two decades while also a full-time member of the Colorado Springs Philharmonic. He has been principal cellist/section cellist with the Monterey Symphony, Sacramento Symphony, Santa Cruz Symphony, Vallejo Symphony, Napa Valley Symphony, Colorado Springs Chamber Orchestra, Pueblo Symphony, and has performed with the Bear Valley Music Festival and the Cabrillo Contemporary Music Festival. Gerald’s solo career has taken him around the world to places, such as Neemrana Palace near Jaipur, Rajasthan, Habitat Performance Center in New Delhi, and the Woodstock School in Masoori, India. He was invited to perform the Bach Solo Suites for Cello in several venues in Strasbourg, France, including Palais Universitaire. His performing career has also taken him to Vallejo’s sister city, Akashi, in Japan. He performs yearly recitals in Saratoga, California and has given solo recitals in Ann Arbor, Michigan and Mountain View, California. Gerald started playing cello at the age of eight and played with the World Youth Symphony Orchestra at the Interlochen International Summer Music Camp. Starting his cello studies in California he continued at the University of Michigan School of Music studying with Jeffrey Solow, where he received a Bachelor in Music degree, and finished his training at the San Francisco Conservatory of Music, where he studied with Irene Sharp and Bonnie Hampton, and obtained a Master of Music degree in Cello Performance. In addition to his performing career, he has an active cello studio in Colorado and has been a cello instructor at the Community School of Music and Arts in Mountain View, California and at the Colorado State University School of Music in Pueblo, Colorado.

Jacob Klock started playing the violin when he was six years old after being inspired by Walt Disney’s “Fantasia”. He began his orchestra career in the eighth grade when he was asked to be a violinist in the Pueblo Symphony Orchestra. At the age of 19, he became Assistant Concertmaster of the Chamber Orchestra of the Springs. Within a year, he joined the second violin section of the Colorado Springs Philharmonic. Now 25 years old, Jacob is a full-time member of the Philharmonic and serves as Concertmaster of the Chamber Orchestra of the Springs. As a high school senior, he performed the Paganini Violin Concerto No. 1 with the CSU-

Pueblo Orchestra. In a master class setting, Jacob has performed for Pinchas Zuckermen, Peter Oundjian and the Kronos Quartet. Additionally, he was a member of the winning ensemble in the 2008 Lamont School of Music Chamber Competition. Jacob’s teachers include Karine Garibova at CSU-Pueblo and Linda Wang at University of Denver’s Lamont School of Music. When not playing the violin, Jacob enjoys performing with various ensembles (jazz, bluegrass, ska, metal) on many instruments, including trumpet, electric guitar, keyboards, guitar, bass, and fiddle. Jacob lives in Colorado Springs with his wife, Heather, and their two children.

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Featured Artists Praised for the beauty of her tone, her exquisite artistry and poetic interpretations, pianist Angelina Gadeliya was born in Sukhumi, Georgia, and moved to the US with her family in 1990. She has performed widely as a soloist, recitalist, and chamber musician throughout the United States, as well as in France, Italy, Germany, Spain, Mexico, Israel, and Ukraine. “For sheer depth of feeling, this was one of the most striking performances in New York this entire season,” was the New York Sun’s description of Ms. Gadeliya’s recent performance at the Juilliard School. This past

spring Ms. Gadeliya completed her third season with the prestigious Ensemble ACJW and as a fellow in the Academy- a program of Carnegie Hall, The Juilliard School, and The Weill Music Institute. As a member of the Academy, Ms. Gadeliya was actively involved in educational outreach to New York City’s public schools, and performed regularly at Carnegie Hall as well as at the Juilliard School. She has appeared as soloist with the Sinfonia of Colorado, as well as the Fort Worth, South Dakota, Oberlin, and Stony Brook symphonies. Ms. Gadeliya was invited to perform as part of Carnegie Hall’s Discovery Day for the Emerson String Quartet’s Beethoven Project in 2007, as well as for the Mahler Symphonies Project in 2009. Twice a fellow at the Tanglewood Music Center, she has collaborated with such artists as Lucy Shelton, James Conlon, Ian Hobson, Paul Polivnick, Andrew Manze, David Stern, Steve Reich, members of the New York Philharmonic, and the internationally acclaimed Mark Morris Dance Group. Ms. Gadeliya’s recent performances include solo and chamber music recitals in such venues as New York’s Alice Tully Hall, Carnegie’s Weill and Zankel Halls, the Consulate of France, The Ukrainian Institute of New York, the New York Historical Society, the Hungarian Consulate, the Bulgarian Consulate, the Ukrainian Institute of Modern Art in Chicago; and at such festivals as the Philadelphia Chamber Music Society, the Bach Festival of Philadelphia, the American Conservatory in Fontainebleau, France, the International Keayboard Institute in New York, the Dakota Sky International Piano Festival, the Beethoven Master Course in Positano, Italy, and the Reynosa International Piano Festival in Mexico. An advocate of contemporary music, Ms. Gadeliya gave the US premier of Valentyn Sylvestrov’s Piano Quintet at the Ukrainian Institute in NY with the Rothko String Quartet in 2005. In October of 2008, Angelina Gadeliya organized a benefit concert at NY’s Steinway Hall in order to aid refugees in Tbilisi, Georgia. Ms. Gadeliya has also toured Ukraine several times playing benefit concerts for families with special needs children. This past summer, she served as a faculty member at the International Vocal Arts Institute in Tel Aviv, Israel. This November, Angelina took part in the “Alfred Brendel on Schubert” residency at Lincoln Center. Upcoming performances include appearances at the 2009 Festspiele Mecklenburg-Vorpommern, solo recitals in New York and in Baltimore, and her Solo European Debut recital at the 2011 Bad Reichenhall Festival in Germany. Ms. Gadeliya holds a Doctor of Musical Arts degree from Stony Brook University where she studied with Gilbert Kalish. She is also a graduate of the Juilliard School where she worked with Julian Martin, and of Mannes College of Music where she studied with Pavlina Dokovska. Ms. Gadeliya began her Bachelor’s studies at the University of Colorado at Boulder, and received her Bachelor of Music at the Oberlin Conservatory under the guidance of Angela Cheng. Ms. Gadeliya studied the harpsichord with Arthur Haas, and the fortepiano with David Breitman. She also enjoys playing the violin, and is a member of the Gadeliya String Quartet. Her performances have been featured on New York’s WQXR radio station.

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Program NotesVoice of the Romantic

He knows everything, but lacks inexperience.—Hector Berlioz, regarding Camille Saint-Saëns.

Camille Saint-Saëns composed La Muse et le Poète while on vacation in Egypt during the winter of 1909 – 1910. With atonal and avant garde music ruling Paris in the early twentieth century, Saint-Saëns was finding his music increasingly ignored in France, though he was still popular in England and America and continued receiving commissions. (His last orchestral work was, surprisingly, an overture called Hail! California.) La Muse et le Poète was originally composed for violin, cello and piano, and it is still performed that way today, but Saint-Saëns clearly intended the piece for soloists and orchestra from the beginning. Leaving the piece untitled, he sent it off to his publisher, where it was given its title, implying a programmatic characterization of a poet and his muse (“muse” having the double meaning of poet’s genius or perhaps an external, feminine inspiration). Saint-Saëns eventually signed off on this idea, though he had already described the piece as “a conversation

between the two instruments instead of a debate between two virtuosos,” suggesting a new approach to the double concerto. The piece was premiered in 1910 in London with violinist Eugene Ysaÿe and cellist Joseph Hollmann. About Camille Saint-Saëns: Many composers began as freakish children, but by any standards Saint-Saëns was an extreme case. As a two-year-old he could read and write, and was picking out melodies on the piano. Shortly after his third birthday he began composing, and by the age of five had given his first piano recital. At seven he was reading Latin, studying botany and developing what was to become an eighty-year interest in lepidoptery, (the study of butterflies and moths). As an encore after his formal debut as a concert pianist, the 10-year-old Camille offered to play any of Beethoven’s 32 sonatas from memory. In short, his childhood suggested Mozartian potential that was never realized. Saint-Saëns once remarked that he lived “in music like a fish in water” and that composing was as natural as “an apple tree producing apples.” And there lay the problem. As with Mendelssohn, the technique came so easily to him that it virtually extinguished the spark of originality. That said, for years he was considered by many to be France’s greatest musical revolutionary, though his reputation grew more from his outspoken support for other composers’ music—especially Wagner’s—than from any work of his own. As well as promoting contemporary music, Saint-Saëns threw his energies into researching the work of his forerunners. Along with Mendelssohn, he was one of the first to reestablish the music of Bach (converting the skeptical Berlioz in the process) and he did much to restore Mozart to his rightful place, being the first to play a complete cycle of the piano concerti. Handel was another unfashionable composer to engage Saint-Saëns’ attention, and (as with Berlioz)

Overview: Camille Saint-SaënsBorn: October 9, 1835, in ParisDied: December 16, 1921, in AlgiersWork Composed: 1909 – 1910 Why It Matters: Saint-Saëns’ later works were lost in the avant garde craze that dominated Paris in the early twentieth century. Though he wasn’t provoking riots at his performances like Stravinsky, Saint-Saëns was still quietly innovating. His later

works are thought by many to represent the culmination of the French Romantic.

Camille Saint-SaënsLa Muse et le Poète

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Program notes continue on page 15

Program Notes, continued

Overview: Frédéric ChopinBorn: February 22 or March 1, 1810 (church records and family accounts disagree), near Warsaw, PolandDied: October 17, 1849, in ParisWork Composed: 1830 – 1834 Why It Matters: With such an odd title and extended sections of solo piano without the orchestra, Chopin’s Andante Spianato et Grande Polonaise Brillante is

often overlooked, but it is some of Chopin’s best writing for piano and orchestra and a fine example of his mature style.

Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the

crowning reward of art.—Frédéric Chopin

Chopin composed his Grande Polonaise Brillante for piano and orchestra in 1830 – 1831, starting it during his final months in Warsaw and finishing the work in Vienna. The piece stood

Frédéric ChopinAndante Spianato and

Grande Polonaise, op. 22

Gluck held a fascination that lasted most of his life.By the time Saint-Saëns reached his mid-fifties, the past had won the upper hand over the present. Embittered, ill-tempered and restless, he became the arch-traditionalist, opposing the progressive music of Debussy and Ravel, bellowing outrage at the first performance of The Rite of Spring, and yet, for all his reactionary pomposity, he was one of the first neo-classicists, embodying many of the finest traditional qualities of French music—neatness, clarity, elegance and dignity. His best epitaph is the rueful one he wrote for himself: “I ran after the chimera of purity of style and perfection of form.”

remarkably well on its own, but Chopin would return in 1834 to add the Andante Spianato to the beginning, publishing the combined work in 1836 as his op. 22 with a dedication to Madame d’Este. “Spianato” means “even” or “smooth,” and this is the only piece for which Chopin used the term, with obvious reference to the quiet rippling textures of the opening section. Chopin premiered the complete Andante Spianato et Grande Polonaise Brillante at the Conservatoire Concerts in Paris on April 26, 1835. About Frédéric Chopin: Frédéric Chopin (1810 – 1849) was born in Warsaw to a French father and Polish mother, and although his Polish heritage was essential to him throughout his life, he would spend nearly the last half of his life in Paris. He began his piano studies with Adalbert Zwyny, who focused primarily on the music of Bach and Mozart at a time when their music was far from fashionable. Nonetheless, it gave the young Chopin a firm foundation in music and unique perspective for his compositions. At twelve, he enrolled at the Warsaw Conservatory, studying composition with Josef Elsner. He left in 1829 but immediately composed his Piano Concerto No. 2 in F Minor, op. 21, which he premiered the following year. He soon left Poland, where he met Schumann and also learned of the Russian invasion of Poland, which affected him deeply. At the end of 1831, he left for Paris, where he was a major success. He met free-thinking novelist Aurore Dudevant (better known today as George Sand, despite her gender) in 1838. Dudevant was a major influence on his work and they carried on a turbulent relationship that would last until 1847, after which Chopin composed very little. Having long suffered from tuberculosis, Chopin finally succumbed in October, 1849.

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We invite you to personalize your donation by underwritings one of our Principal Chairs. This is a unique opportunity to honor a loved one or friends. Your supporting donation

will be acknowledged during the concert season with a notation on our Orchestra Roster page indicating your support.

This affordable opportunity is available at three levels: $1920 - Concertmaster; $1400 - Second violin/viola/cello/bass principals;

and $750 - Wind/Brass/Percussion principals. Please contact 633-3649 or chamorch@gmail.com to take advantage of this underwriting opportunity.

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Program Notes, continued

Overview: Robert SchumannBorn: June 8, 1810, in Zwickau, SaxonyDied: July 29, 1856, in Bonn, GermanyWork Composed: 1845 – 1846Why It Matters: Schumann’s symphonies are notoriously challenging to perform and interpret,

but they also represent the culmination of Schumann’s orchestral style and important counterparts to the symphonies of Mendelssohn and Brahms.

Robert SchumannSymphony No. 2 in C Major, op. 61

I am affected by everything extraordinary that goes on in

the world and think it over in my own way …then I long to express my feelings and find an outlet for them in my music: a poem, something infinitely more spiritual, the result of poetical consciousness.—Robert Schumann

In a letter dated September 20, 1845, Robert Schumann had exciting news for his friend and fellow composer, Felix Mendelssohn: “Much drumming and trumpeting has been going on inside me for a few days (trumpet in C); I do not know what will come of it.” The rumbling was his Symphony No. 2 in C Major, op. 61. In a constant battle with depression, Schumann explained the symphony further in a letter to Georg Dietrich Otten, Music Director of the Hamburg orchestra: “I wrote the symphony in December 1845 only halfway recovered; I think this can be heard in the music. Only when I was working on the last movement did I begin to feel more myself again; and indeed I felt better after the entire work was complete. Otherwise, it only reminds me of a dark period. I see your sympathy from the fact that even such painful sounds can cause interest … and that you did not fail to notice

my melancholic bassoon in the adagio, which I certainly placed there with particular preference, but which has cheered me up the most.” Schumann made revisions to the symphony, completing the final version of the score on October 19, 1846. The premiere followed in Leipzig on November 5 with Felix Mendelssohn conducting. The program was so lengthy that it hampered the reception of the work, but the premiere was still a major success for Schumann. Considering Schumann’s mental condition, the symphony is surprisingly upbeat, with a triumphant ending. Oddly, the symphony and Schumann’s Piano Concerto in A Minor both had disastrous premieres in Dresden, where the Schumanns had recently moved. About Robert Schumann: The life of Robert Schumann (1810 – 1856) is one of the unfortunate tragedies in the history of music. Schumann died a failure in his own eyes, a life cut short by insanity and a musical legacy plagued with self-doubt. His music was a confessional of his inner, tormented life. He was a middle-class child from Zwickau, Saxony. His father, a bookseller and novelist, died when Robert was just sixteen. Robert’s sister, unable to accept the tragedy, committed suicide—a devastating act from which Schumann would never completely recover. He enrolled in the law program at Leipzig University and seemed ready for success. He supplemented his law studies with music, but was told by his music professor that he had no talent whatsoever. This parting led him to private study with Friedrich Wieck, a notable teacher and piano maker from whom Schumann was renting a room. There he met Wieck’s daughter, Clara, when she was only nine years old but showing signs of prodigious talent as a pianist. In a few years, Robert would fall in love with Clara—a relationship strictly forbidden by her father. It wasn’t until 1840, one day before

Program notes continue on page 17

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Would you like to support the Chamber Orchestra of the Springs in a unique way?

Each season we have music to purchase for our various performances, and your sponsorship of a particular piece of music will help the Chamber Orchestra build its library of great music for now and the future! You may choose to purchase in honor or in memory of a loved one, or just because you love the Chamber Orchestra! The following music for the 2012 - 2013 season is still available for purchase:

Wolfgang Amadeus Mozart: Clarinet Concerto - $180Wolfgang Amadeus Mozart: Symphony #36 - $200

Frederic Chopin: Piano Concerto #1 - $140Jean Sibelius: Symphony #3 - $260

For information about how you can purchase music for the Chamber Orchestra call Phyllis White - 522-0153.

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Clara’s twenty-first birthday, that Schumann won legal action to overturn Wieck’s opposition to their relationship and marry Clara. Schumann was a promising pianist, but he had a strange obsession with the natural inability of the little finger and ring finger to move independently of each other. (Their tendons overlap inside the hand.) Schumann devised a contraption that he hoped would strengthen and liberate the two fingers, but the machine ruined his hands. Schumann made the situation far worse by continuing to use the machine and seeking all sorts of hackneyed cures. On being diagnosed with syphilis, he was prescribed mercury treatments which made everything worse. With his piano career at a halt and his compositions receiving little attention, Schumann turned to music critique and began publishing his own journal, the Neue Zeitschrift für Musik. Many of his treatises were written from two perspectives that Schumann saw as the two parts of his inner mind; he called them Florestan (the passionate and

Program Notes, continuedimpulsive youth) and Eusebius (the intellectual). A certain darkness overtook Schumann’s life. Manic depression had begun to affect his work. Despite Mendelssohn’s offer of a piano professorship at the new Leipzig Conservatory, Schumann’s repeated breakdowns led to a resignation and a move to Dresden. As Clara’s performing career flourished, it only underscored the indifference of the world toward Schumann’s music, even though Clara performed his music whenever she could. His works were seen as too serious, and he had a decided inability to compos the operas, festival cantatas, and salon-pieces that were making good money in those days. He tried a brief spell as a conductor in Leipzig beginning in 1850, but four years later the post ended with recriminations and disaster. Schumann attempted suicide by throwing himself into the Rhine, but survived and was committed to an asylum near Bonn. He died there in July, 1856, devastated by tertiary syphilis and having starved himself in his depression.

The Chamber Orchestra Volunteer Corps

“For the Love of Music”

We wish to thank our volunteers who assisted at our February concert :

Carlota Anderson • Inge CordovaGinny Holloman • Hallie Cabell

Harry and Louise Wilson • Sheri MorseSharon LaMothe • Mary Wieger

Pat Hudson • Alan WendtAnd board members

Nicole de Naray • Chuck CabellPam Marsh • Helene Knapp

Please help us save paper and money by recycling your program back

to the COS concert staff at the end of the Broadmoor Community concert. You are welcome to take your program with you if you like, but if you don’t have

a particular reason to hang onto it, please consider leaving it with us for the

use of a Sunday afternoon patron!

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Two Sunday Services9:00 and 11:00 a.m.

315 Lake Avenue • 473-1807www.broadmoorchurch.org

No matter who you are or where you

are on life’s journey, you are welcome here.

Watch for details about the“Summer Concerts in the Glen Series”

beginning in June

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Chamber Orchestra of the Springs SupportersThe following members of our 2011-2012 Season audience are as passionate about the activities of the Chamber

Orchestra of the Springs as are its players and Board of Directors. We offer them our heartfelt gratitude.

Season Underwriter $5,000 & upInasmuch FoundationBee Vradenburg FoundationChamber Orchestra Audience 25th Anniversary FundH. Chase StoneTrust

Concert Sponsor $2,500 to $4,999Norton Bain, Bain Family FoundationColorado Creative IndustriesJohn G. Duncan Charitable TrustThe Hester and Edwin Giddings FoundationGay & Lesbian Fund for ColoradoPikes Peak Community Foundation-Fund for the ArtsHerman Tiemens II & Charlotte Maier

Conductors Circle $1,000 to $2,499Libby Rittenberg and Nasit AriVirginia Snow and John CarterThe Joseph Henry Edmondson FoundationMichael and Susan GraceThe Dusty and Kathy Loo Fund of the Pikes Peak Community FoundationTerry and Darryl Thatcher

Benefactor: $500 to $999Charlease BoboCharles and Annie Ruth BoboRaymond and Barbara BrownNicole and Andrew De NarayWalter & Esther HarderHelene KnappTerry & Elizabeth LillyAnita R. MareshDr. Stephen & Pamela MarshBob and Lisa RennickAllan and Gloria WendtVerizon Foundation on behalf of John lawson

Sustainer: $250 to $499Judy BiondiniJane Dillon and David BredemeierCharles and Hallie CabellJeff Marshall and Shawn FinneganSam and Mary Alice HallRichard and Sandra HiltDorothy D. KautzmanMrs. Laurence T. KircherDoris KneuerSara McDanielOliver and Gerda NickelsJames and Helen RynningSusan ShermanPeggy Houston ShiversDr. Susan R. Jensen and Mr. Thomas TrainerMs. Jeanna Wearing

Sustainer, continuedMrs. Barbara Webb, Webb Family FundPhyllis V. WhiteHarry and Louise WilsonThomas G. WilsonAnonymous

Supporter: $100 to $249Larry and Eve BarrettKaren BatesWilliam S. BeckerElizabeth BockstahlerAnn BroshMary Margaret BrummelerJudy and Duncan BurdickDr. and Mrs. Robert CarltonEve Tilley ChavezKathleen Fox CollinsThomas & Tania CroninJudy CunninghamPaul and Janet DavidsonDr. and Mrs. Donald D. DickensonMary J. EiberJudy Fair-SpauldingJoanna & Lindsay FischerDonald and Barbara GazibaraEugene and Jolinda GraceDunning & Mary IdleGlenn & Helen KnightCW4 Mary KoeppBonnie and Dave LinderDonald and Marie LoganMary Elizabeth McKinley

Donors continue on page 21

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...musicians.

...a team.

Open Auditions!August 2013 - Date & Time TBACalling All Instruments, All Experience Levelsup through age 22!

Symphonic Orchestra / Wind EnsemblePrelude String Ensemble / Overture String Ensemble

Saxophone Ensemble / Concert Band

Our auditions are Free. All of our concerts are Free.Reserve your audition slot today - email Adam Hooper at

admin@peakharmonic.org

inviting you to join us!

Play a new note in the 2012-2013 season!

C O M M I T M E N TT O O u r

C O M M u N I T Y

ThE gazETTE Is a prOud suppOrTEr Of ThE COlOradO sprINgs ChIldrEN’s ChOralE

The gazette and gazette Charities are committed to the relationships that make

a difference in our community.

We take pride in creating partnerships between those in need with

those who have something to give.

Working together, we strengthen thebonds that make Colorado springs a place

of promise, opportunity and hope.

7.5 x 4.75 2007.indd 1 4/12/07 1:57:15 PM

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Supporter (continued): Charles and Jane MerrittLynne MillerWanda OelrichDenis and Beverley PirioBetty Jane RickelCharles RittenbergEdie Greene and Alan SeigelHerb & Rhea SiegelJohn F. SlatteryMargaret SmithJoan StratingCharles Guy TheriotFrederica ThrashAnn Van HornCharles & Judith WarrenDeb and Lonny WeltzerDon and Marylin WerschkyAnonymous

Friend: $1 to $99Tuck & Liz Aikin, Jr.Geoffrey Ames & Daryll StevensMichael and Susanne AnselmiBarbara ArnestAnn AxelrodDirk BaayPhyllis E. BakerJudith BentonMartha BoothMr. and Mrs. Dwight S. Brothers

Dale & Gundi BrunsonInga ChampionMary E. ClaytorPhyllis DeHartDiana DiMaraMr. Kor ElzengaJohn F. LeFevreDorothy FarthingElaine FreedTimothy & Kalah FullerCarlton GamerSusanna and Fred GnadingerAdam & Alicia GoldCarla and Jim GreenhalghJudith GreistSherry L. HallIngrid HartWalter and Ann HecoxKarin HenriksenSylvia HutsonDonald & Gwendolyn JenkinsRonald and Sandra JohnsonSusan JohnsonW.R. JohnsonFrank and Elfriede JoppMarilyn KastelHarriet KiddCherry and Jack KinneyDeborah Perlet & Gloria KondrkSharon La MotheJohn & Linda LeFevrePatricia LiptonBarbara Logan

Scott and Susan LoringDr. Suzanne MacAulayKay G. MacEnultyHelmut & Joyce MaileRichard and Jean McChesneyLinnea McDonaldMr. and Mrs. Michael McGrathJ. Terry and Judith McIntireJon & Becky MedvedDion F. MercierDr. & Mrs. George L MerkertCarol and Jim MontgomeryKate MyersFred and Mary Jean NelsonLisa NollJay NormanBaerbel and Arthur O’ConnorCarol & John PattenMarie and Ron PfisterPatricia PlankLynda Ward SchedlerColonel & Mrs. Charles ShayMurl SickbertDavid and Barbara St. AndreJoyce and Steve StiversRobert TaylorWilliam TunstillKaren WagnerMs. Jeanne WearingMary WiegerB. June WilliamsNicholas WilsonAnonymous

Chamber Orchestra of the Springs Supporters, continued

The Chamber Orchestra of the Springs makes every attempt to list our donors accurately. If your name was inadvertently omitted or listed incorrectly, please accept our apologies, and contact us at (719)633-3649 or chamorch@gmail.com so that we can correct our records.

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!

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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.

The Chamber Orchestra of the Springs welcomes corporate sponsorships for its programs and activities. Please contact the Chamber Orchestra at 633-3649, for information on sponsorships and benefits.

Special Appreciation to...First Christian Church for the use of their wonderful sanctuary

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

KCME-FM 88.7, A Voice for the Arts, for concert publicityRuth Hjelmstad for professional assistance with accounting

Grace Episcopal Church for use of their rehearsal space

PLAN AHEAD TEACHERS & STUDENTSORCHESTRA CAMP

ATFIRST PRESBYTERIAN CHURCH

JULY 16 – 20, 2012

MIDDLE SCHOOL THRU COLLEGE +

ORCHESTRA I - INTERMEDIATEORCHESTRA II - INTERMEDIATE/ADVANCED

ORCHESTRA III - ADVANCED (FULL ORCH)WIND, BRASS, PERCUSSION ENSEMBLE

CONCERTSFRIDAY, JULY 20, 7:00 pm – FIRST PRESBYTERIAN

SUNDAY, JULY 22, 6:00 pm – VILLAGE SEVEN PRESBYTERIAN* * * * * * * * *

For more information, call Marty Kelley at the First Pres Music Office 884-6113 or email mkelley@first-pres.org

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Festival Orchestra ConcertsTuesday, June 12 7:30 PM

Jon Nakamatsu, pianoSunday, June 24, 3 PM

Mark Fewer, violin

5 Faculty Artist Concerts3 Festival Orchestra Concerts

1 Children’s Festival Orchestra Concert2 Concerto Readings6 Music At Middays

Tickets for the Festival Orchestra and Faculty Artist Concerts may be purchased

at the CC Worner Desk, atwww.TicketsWest.com or (719) 520-SHOW.

All other events are free and open to the public!Call for more information (719) 389-6552

Find the full performance schedule atwww.ArtsFestival.ColoradoCollege.edu/musicfestival

Susan Grace, Music DirectorVirginia Barron, Assoc. Director

Scott Yoo, conductingQuestions? (719) 389-6552

The Colorado CollegeSummer Music Festival

June 4-24, 2012

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