SUPPRESSED COMPOSERS OF THE HOLOCAUST

CHAMBER ORCHESTRA OF THE SPRINGSFor the Love of Music • thomas wilson, music director

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Wednesday, March 4, 2020 • 7:30 p.m.Colorado College • Packard Hall

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the chamber orchestra of the springs andthe colorado college music department present

Interrupted

chamber works by composers who perished in the holocaust

Sponsored by Bob and Lisa Rennick and theColorado College Cultural Attractions Fund

Wednesday, March 4, 2020 • 7:30 p.m.Colorado College • Packard Hall

Variations and Fugue on a Hebrew Folk Songfrom Sonata No. 7 for Piano (1944)

by Viktor Ullmann (1898 – 1944)Susan Grace, piano

Sonata for Flute and Piano (1943)by Leo Smit (1900 – 1943)

Allegro · Lento · Allegro moderatoAllison Gioscia, fluteSusan Grace, piano

Tanz (Dance) for String Trio (1943)by Hans Krása (1899 – 1944)

Veronika Afanassieva, violinEkaterina Dobrotvorskaia, viola

Jane Chan, cello

Variations on a Moravian Folk Tune from Trio No. 2 (1944)by Gideon Klein (1919 – 1945)

LentoKarine Garibova, violin

Ekaterina Dobrotvorskaia, violaJane Chan, cello

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Uv’tseil Knofecho (In the Shadow of Your Wings) (1942)by Zikmund Schul (1916 – 1944)

Veronika String Quartet

I NT E R M I S S I O N

Romanian Melody for Violin, Cello, and Piano (1941)by Dick Kattenburg (1919 – 1944)

Jacob Klock, violinGerald Miller, celloSusan Grace, piano

Suite for Oboe and Piano (1939)by Pavel Haas (1899 – 1944)

ModeratoAngie Burtz, oboe

Susan Grace, piano

Lamento for Cello and Piano (1938)by James Simon (1880 – 1944)

Gerald Miller, celloSusan Grace, piano

Grand Duo for Violin and Cello (1929 – 1930)by Paul Hermann (1902 – 1944)

AndanteJacob Klock, violinGerald Miller, cello

Five Pieces for String Quartet (1924)by Erwin Schulhoff (1894 – 1942)

Alla Valse Viennese. AllegroAlla Serenata. Allegretto con moto

Alla Czeca. Molto allegroAlla Tango Milonga. Andante

Alla Tarantella. Prestissimo con fuocoVeronika String Quartet

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Viktor Ullmann was born on January 1, 1898 in the gar-rison town of Teschen in Silesia, in what belonged to the Austro-Hungarian Empire and is now a part of the Czech Republic. Educated in Vienna, Ullmann made important contributions to both Czech and German cultural life as a composer, conductor, pianist and music critic. Shaped by his engagement with Schoenberg’s musical philosophy, German

aesthetics, as well the anthroposophy of Rudolf Steiner, Ullmann understood the role of art as central to human spiritual and ethical development. Prior to his death in 1944, he wrote that “artistic form” must be understood from the perspective of Goethe and Schiller as that which “overcomes matter or substance [and where] the secret of every work of art is the annihilation of matter through form—something that can possibly be seen as the overall mission of the hu-man being, not only the aesthetic but ethical human being as well.” Within the context of his own compositions, Ullmann used form as a powerful commentary on his own self–conscious engagement with the traditions of Western art music as he engaged with them in the works of Schoenberg, Mahler and Berg. Following unsuccessful ef-forts to find work in London or South Africa, Ullmann was trapped in Prague after the German invasion in March 1939. In 1942 he was deported to Terezin. During the late summer of 1944, as news fil-tered into Theresienstadt that the allies had invaded Europe and the Russian front was drawing near, the prisoners waited eagerly to be liberated. From September to October, however, massive transports from Theresienstadt to the Auschwitz and other death camps in the east effectively liquidated the camp. Ullmann was sent to Auschwitz on October 16, 1944 where he perished two days later along with oth-er key figures from the cultural life in the camp. Sonata No. 7 (1944), dedicated to three of his children Max, Jean and Felice (Pavel, born in 1940, had already died in the camp) was the last of Ullmann’s works written before he was transported to Auschwitz.

About the Composers

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Leo Smit came from a mixed Ashkenazi and Sephardi fami-ly. He was born in Amsterdam in 1900, and studied piano at the Conservatorium van Amsterdam with Sem Dresden and Ulfert Schults, and composition with Bernard Zweers. Early on and throughout his career, his orchestral works were per-formed by the Concertgebouw Orchestra in Amsterdam, un-der the direction of conductors like Cornelis Dopper, Pierre Monteux and Eduard van Beinum. In 1927 he moved to Paris, where the music of Maurice Ravel and Igor Stravinsky made a deep impres-sion on him. Here he was in close contact with the group of com-posers known as Les Six, which included Darius Milhaud, Arthur Honegger, and Francis Poulenc. He married Lien de Vries in Am-sterdam in January 1933. In November 1942, he was forced to move from Rivierenbuurt to Transvaal, a deportation district in the east of Amsterdam. In March 1943, he was summoned to the Jewish Theatre with others (today known as Hollandsche Schouwburg and National Holocaust Memorial), then transported to Westerbork. By the end of April he was transported to Sobibor and murdered upon arrival. Amongst his pupils was the prodigiously talented Dick Kattenburg. It can easily be imagined that, had he survived the Holocaust, Leo Smit’s talent might have become universally acknowledged. Smit’s unique musical voice often combines French-colored harmonies and Stravinskian melodic angularity and jazz inflections to produce a style that is satisfyingly complex yet thoroughly accessible. The So-nata for Flute and Piano was the last work Smit would complete before being deported to Westerbork transit camp. This sonata is a sub-stantial, though relatively unknown, contribution to 20th-century flute repertoire.

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Hans Krása was born in Prague on November 30, 1899. His family encouraged and generously supported his musical studies, to the extent that his father hired instrumental en-sembles in order for Hans to hear his compositions. Krása studied with Alexander Zemlinsky in Prague, and in 1921, even prior to the completion of his studies at the German Music Academy in that city, he began working as a vocal

coach at the New German Opera. He spent considerable time in Paris, where he came to admire, among others, the works of Igor Stravinsky. Krása had some performances in the United States and France in the 1920s and several of his compositions were published in Vienna and Paris. A close or even casual acquaintance with his works reveals a composer of exceptionally beautiful music, and he merits attention by performers, audiences and musicologists. Krá-sa was deported to Terezín on August 10, 1942, where he wrote his Dance for String Trio. He was imprisoned there for 26 months before being sent to Auschwitz on October 16, 1944 (along with Viktor Ull-mann, Pavel Haas and Gideon Klein), where he perished immediate-ly in a gas chamber.

Tonight’s concert presenting short chamber ensemble works by composers who perished during the Holocaust is the first phase of the Interrupted Music Project.

Our aim is not to memorialize but rather to rejuvenatethe creative legacy of these composers through

performances and new orchestrations.

To this end, for the second phase we plan to commission two composers to arrange the small ensemble pieces you have heard today for full chamber orchestra. These works, some re-orchestrated, some quilted together to provide new integrating perspectives, will then be performed along with original and other small ensemble pieces in a special concert in 2021. If you would like to lend a hand in supporting this project, or would like to partially sponsor the next phase, please contact Pam Chaddon at chamorch@gmail.com or by phone at (719) 633-3649.

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Gideon Klein was born in Prerov, Moravia, on December 6, 1919. His family, rooted in Jewish tradition, was also mod-ern in outlook and supportive of culture and art. At age six, Gideon’s precocious musicality became evident and he began to study piano with the head of the local conservatory. When he was eleven, he travelled once a month to Prague for les-sons with the wife of the noted piano pedagogue Professor Vilem Kurz, and the following year he moved to Prague to live with his sister, Eliska Kleinova. In the fall of 1938 he was admitted to Pro-fessor Kurz’s Master School of the Prague Conservatory, registering at the same time at Charles University for courses in philosophy and musicology, and for the latter department writing an impressive and detailed study of voice-leading in Mozart’s string quartets in his first semester. He graduated from the Master School in one year, but, when the Nazis closed all institutions of higher learning following their occupation of Czechoslovakia in March 1939, he could not con-tinue at the university. During this period Klein began to perform widely. In 1940 he was offered a scholarship for study at the Royal Academy of Music in London, but by that time Nazi race and emigra-tion laws prevented him from leaving the country. Jewish musicians could also no longer perform in public. Gideon circumvented this for a time by appearing under the name of Karel Vranek, and when even this was too dangerous his venue became private homes of those who wished to hear him play. Until recently, it was assumed that ex-cept for a few sketches, Klein had written little music until blossom-ing as a composer in Terezín. Unexpectedly, however, in June 1990, the Dr. Eduard Herzog family in Prague, friends of the Kleins from before the war, found in their possession a locked suitcase that had been forgotten for over fifty years. It contained a treasure of Gide-on’s manuscripts, evidently placed for safekeeping with the Herzogs before Klein was sent to Terezín. This music completely altered the impression that he had suddenly begun to compose seriously only in the ghetto, for it revealed works, dating from 1939 and 1940, of aston-ishing craftsmanship and maturity for one then so young. On De-cember 1, 1941, Gideon Klein, along with thousands of other Prague Jews, was deported to Terezín. He immediately became active in the camp’s cultural life, undertaking whatever was necessary to assist in the creation and maintenance of musical activities for the benefit of

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both musicians and their audiences. Nine days after completing his string trio, fated to be his last composition, Gideon Klein was sent to Auschwitz on October 1, 1944; and from there to Fürstengrube, a coal-mining labor camp for men, near Katowitz in Poland. It is not known whether he was killed there by the remaining Nazis as the lib-erating Red Army approached or whether he died on a forced march with those Jews made to accompany the fleeing SS.

Zikmund Schul was born in Chemnitz, Germany, on Jan-uary 11, 1916, moving with his parents to Kassel, in Saxony, in September 1928. Zikmund and his father departed from Germany, taking residence in Prague in October 1933. At some point, he studied with Paul Hindemith at the Berlin Musikhochschule, returning to Prague in 1937 and continu-ing composition with Fidelio Finke and conducting with

George Szell at the German music academy. During his Prague years, Zikmund became closer to his Judaism and was friendly with the Lieben family. Evidently Rabbi Lieben, of the Altneuschul, en-couraged Schul to study Kabbala as well as synagogue songs. With the encouragement of Rabbi Lieben, the Jewish community offered him the opportunity to work with an early 19th-century collection of recitatives and chants for use in synagogues, which is now located in the Jewish Music Research Center at the Hebrew University of Je-rusalem in the National Library. Also during this time in Prague, he became friendly with Viktor Ullmann, who admired the work of the young man. Schul was transported to Terezín on November 11, 1941. During his imprisonment, he managed to continue composition and often met with Ullmann to discuss aspects of modern music. The extent to which Schul selected Biblical texts for original com-positions and arrangements, both instrumental and vocal, is quite remarkable. Several of Schul’s works in the ghetto included choral pieces, both original and arrangements, and the first of Two Chassidic Dances for viola and cello. He finished a three-part boys chorus, Ki tavoa al-ha’aretz (When You Will Go to the Land), in January 1942, and an arrangement of Grundfeld’s melody for string quartet, Uv’tzeil K’nofecho (In the Shadow of Your Wings) less than a week after. Shul suffered lengthily from tuberculosis and died in the camp on June 2, 1944. Ullmann gathered Schul’s manuscripts together with his own as he was about to board the transport to Terezín, and entrusted

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both his and Schul’s to the care of some friends who accompanied him to the train. Schul’s surviving works remained with Ullmann’s and many years later were deposited in the Goetheanum in Dor-nach, Switzerland. In 1993, Schul’s collection was sent to Israel.

Dick Kattenburg was born in Amsterdam on November 11, 1919, the second child of Louis and Heleen Kattenburg. He had an older sister Daisy, and brother Tom was born in 1922. Dick’s father was employed by the Hollandia-Kattenburg factory owned by his cousin Jacques and he was supervisor in a second family business. The young family moved from the big city to Bussum, a town in the countryside. Although Dick was an ordinary child (he won a prize for a coloring, sent a sto-ry about his dog to the local newspaper, and went to high school in Bussum), he possessed an unusual musical talent. Composer Hugo Godron, teacher at the music school in Bussum, gave Dick his first violin lessons, and mentored him in his first steps as a composer. In a child’s handwriting, the Valse d’amour is clearly one of his earliest works. The first works with an official opus number, the andante for string quartet and two Hebrew songs, have probably been lost. After high school, Dick enrolled at the Collège Musical Belge, a private mu-sic school in Antwerp. At the age of 17, he obtained his music theory and violin diplomas. Tap Dance, a piece for four-handed piano and tap dancer, dates from this time. In 1941 he obtained a state diploma of theory and violin in The Hague were he was taught by Leo Smit. Kattenburg loved jazz and his works are suffused with its influence by way of both rhythm and harmony. There is even a composition for piano, 4-hands and tap dancer, and a lively “Rumba” found among his three Escapades for two violins. In hiding from Nazi authorities in Utrecht, Kattenburg was arrested in a movie theater and shipped to Auschwitz in May 1944. By late September, Kattenburg was dead at age 24. His death certificate states that he died on September 30th somewhere in Central Europe. He died prior to the arrival of the liberators, when the surviving captives were chased during death marches. His Romanian Melody for violin, cello and piano was written on November 27, 1941 under false name “K. van Dunsen”. On the cello and violin part is written “Hebrew melody” as a title. Parts are signed under his own name.

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The Czech composer Pavel Haas was born in Brno on June 21, 1899. The Haas family encouraged the young Pavel’s in-creasingly evident talent, and by the age of 14 he had already produced his earliest attempts at formal composition. At the Brno conservatory, Haas studied from 1920-22 with the eminent composer Leoš Janáček, who was a decisive influ-ence on his compositional style. While Czech composers

in general, and Janáček in particular, played an important role in shaping Haas’ artistic sensibility, he also drew inspiration from a diverse range of sources including Moravian folksong, Jewish syna-gogue music, and art music composers such as Stravinsky, Honeg-ger, Milhaud and Poulenc. This integration of Janáček’s style with his own mature voice can be heard most notably in such works as the 1938 Suite for Piano, in the String Quartet No. 3, with its synthesis of local and international musical elements, in the Suite for Oboe and Piano from 1939, and in the great dramatic work of his maturity, The Charlatan. As it did for so many Jewish musicians across Europe, the Nazi onslaught brought about dramatic changes to Haas’ life and career. Performances of his works were banned, and he and his wife were forbidden employment. On December 2, 1941, Haas was sent on a transport from Brno to Theresienstadt, where he continued to compose. His first composition in the “model ghetto” was the choral work Al S’fod (Do Not Lament), based on a Hebrew text by David Shi-moni, followed by Study for Strings (1943), and Four Songs on Chinese Poetry (1944), both of which were performed by prisoners in There-sienstadt itself. The bass Karel Berman performed the Four Songs in Theresienstadt in 1944, and frequently included the work in his post-war programs. Haas was deported to Auschwitz on October 16, 1944, and probably died in the gas chambers shortly after arrival.

James Simon, born in Berlin on September 29, 1880, was a composer, pianist and musicologist. At the Musikhoch-schule, his teachers included Max Bruch (composition) and Conrad Ansorge (piano). In Munich he wrote his PhD dis-sertation, Abt Voglers Kompositorische Werke (1904), followed by Faust in der Musik (1906), published in a series of musicologi-cal studies edited by Richard Strauss. From 1907 to 1919, Si-

mon taught in the Klindworth-Scharwenka Conservatory in Berlin. He was active as a pianist throughout his life, giving solo recitals,

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playing chamber music and, as a prolific composer of Lieder, prob-ably often accompanied singers in recitals. Although James Simon was decidedly conservative as a composer, he wrote much beau-tiful music and was a consummate musician. His approximately 100 lieder include many beautiful songs. The best of them contin-ue the great tradition of lieder from Beethoven to Hugo Wolf and Richard Strauss. His Sonata, Op. 9, for cello and piano, owes much to Strauss’s influence. His single opera, Frau im Stein (Lady in the Stone, 1925), set to music Rolf Lauckner’s, of the same name, sub-titled as a Drama für Musik (1918), performed only once, was pub-lished by Universal Edition in Vienna. Many of his larger works, including orchestral compositions, string quartets and a cantata, Ein Pilgermorgen (A Pilgrim’s Morning, 1929-30) for soprano, tenor, baritone, chorus and orchestra (Rilke), remain in manuscript and have never been performed. At a Jewish Culture Union concert on June 17, 1934 at the Berliner Theater, the Union and its Opera Chorus presented works by Orlando di Lasso, Hans Leo Hassler, Felix Men-delssohn-Bartholdy, Robert Schumann, Johannes Brahms, Israel Brandmann, Moritz Goldstein and James Simon. The latter was the world premiere of Simon’s setting of Psalm 137. The Lamento für Cello und Piano (in Jemenitischer Weise) was composed upon the death of his sister in 1938 in Tel Aviv. In late March or early April 1944, Simon was sent to Westerbork, and on April 4 was one of a thousand inmates deported to Terezín. Simon quickly entered into the musical life of the ghetto. He played recitals and gave a number of lectures. While he quite likely wrote other works there, none have survived. On Oc-tober 12 he boarded the transport to Auschwitz and died in a gas chamber shortly after his arrival.

Paul (Pál) Hermann was born on March 27, 1902, in Buda. The amusing story goes that young Paul only would practice the piano if he received a penny for each etude he played. It is unknown who gave him his first cello lessons, but at the age of thirteen he attended the Franz Liszt Academy. He be-came friends with violinist Zoltán Székely, pianist Géza Frid, and their teachers Zoltán Kodály and Béla Bartók. He stud-ied cello with Adolf Schiffer and composition and chamber music with Leo Weiner. On a spring afternoon in 1918, Hermann was on the same tram back home as Zoltán Kodály, a teacher who was just

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ten years his senior. Paul carried a string trio composed by his friend Zoltán Székely. Hanging out through the open window he spoke with Kodály. When they came to a stop, Hermann started to whistle a section from the piece. Just before getting off the tram, he impul-sively handed Kodály the score. This must have made an impression; shortly thereafter, Székely and Hermann were invited to Kodály’s home, started to study with him and it was the beginning of a mu-tual friendship. Hermann performed for the first time outside Hun-gary playing Kodály’s Sonata for solo cello during a private concert at Arnold Schönberg’s home. This sonata was Hermann’s internation-al breakthrough as an interpreter of contemporary music when he performed it at a concert of the International Society for Contem-porary Music. Hermann’s international career was well underway. In the spring of 1930, he was again booked for a series of concerts in England. And in December, he premiered Kodály’s Duo for violin and cello at the Concertgebouw, with Székely. The daily Algemeen Han-delsblad praised their superior performance: “Two artists with the purest approach and mastery [...] two rhapsodists who seemed to improvise in their perfect, subtle interaction.” That year, Hermann also premiered his own work, the Grand Duo for violin and cello with Székely. Hermann moved on to work in Brussels from 1934–1937, and in Paris in 1937-1939, under a false name, and then moved to the south of France where he was hidden in a farmhouse near Toulouse of the French branch of the Weevers family, where he composed three melodies for voice and piano (Ophélie, La Centure, Dormeuse) and a violin/cello sonata. He found the solitude of his hidden life on the farm hard to cope with, having lost his wife and far away from his daughter, and used to go out to Toulouse from time to time to teach and socialize, accepting the risk of being discovered. On one such visit to Toulouse, he was indeed picked up during a street razzia and transported to the Drancy concentration camp in spring 1944, and then onward to the Baltic States on the Drancy Convoy 73 on May 15, 1944, after which further traces of Hermann are missing.

Erwin Schulhoff was born in Prague in 1894. His mother supported his interests, committing herself to his musical education and ac-companying him on his studies in Vienna and then Leipzig, where he completed his training in 1910. As a teenager, Schulhoff attended the conservatory in Cologne. At the outbreak of World War I, he re-

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turned to Prague and was drafted into the Austrian army. He was wounded twice on the Russian front, and was permanently affect-ed by the horrors he witnessed. Even while fighting, he continued to compose, and immediately after the end of the war published his first compositions. The sufferings of war, however, deeply de-pressed him, and he sought a source of inspiration and comfort. His Five Pieces for String Quartet, written in 1924, is essentially a neo-Baroque dance suite. As the movement titles indicate, each of these miniatures adopts a different musical style. Schulhoff was no mere mimic, however, and the nation-alities and dances of each movement are filtered through his personal compositional lens. The work was introduced in Salzburg at the International Society for New Music on August 8, 1924. In 1932 he founded a jazz quartet, and de-veloped the idea of starting a jazz school to train and employ jazz musicians. As life grew increasingly difficult for Jews, the compos-er was increasingly drawn to Communism. In 1932, he wrote music for a libretto he commissioned, based on the Communist Manifesto. A year later he travelled to Moscow for a workers’ music competition. Increasingly politically active, he began to write explicitly socialist songs. In the late 1930s Schulhoff moved back to Prague. Friends tried to convince him to leave, but he delayed. He finally tried to get a visa to America, but was rejected, and after the Hitler-Stalin pact, decided that applying for Soviet citizenship was a better plan. In 1941 he was awarded Soviet citizenship, and was waiting for visas for himself and his wife and son. Assuming his success, he had his works sent ahead to the USSR for protection, a decision that was to protect them from destruction. On June 22, 1941, however, Hitler attacked the USSR, and the next day the Schulhoffs, now Soviet citi-zens, were ordered to the police station. The mother and child were temporarily released, but Schulhoff was kept in jail. In the winter of 1941, he was deported to the Wülzburg concentration camp in Ba-varia. Although most inmates were assigned exhausting field work, the musician was spared this by a sympathetic camp commander. Nonetheless, his health was bad and quickly worsened. He died of tuberculosis in August 1942. Erwin Schulhoff was one of the most popular Czech composers of his time, but his death signaled the al-most total erasure of his work from music history.

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About the Musicians

The award-winning Veronika String Quartet (VSQ) established itself as an outstanding ensemble very early in its formation in Moscow in 1989. Praised by critics for its “extraordinary musicianship”, the VSQ has per-formed widely in the U.S., Europe, Russia, and the Middle East. The unique sound of the VSQ has led to success in international competitions in St. Petersburg and Moscow. These were followed by triumphs at the Mel-bourne International Chamber Music Competition, and Chamber Music at Yellow Springs Competition in Ohio. Collaborations with leading chamber musicians has further increased the versatility of the VSQ. These include performances with the American and the Fine Arts Quartets, Martin Lovett of the Amadeus Quartet, clarinetist Richard Stoltzman, and pianists James Tocco and Ruth Laredo. Known for its innovative programming, the Quar-tet is committed to performing a wide range of repertoire, from beloved classics to neglected masterpieces. The Quartet has recorded for Warner Brothers, Narada, and Northword Press. The group currently resides in Southern Colorado. For more information please visit our website online at veronikastringquartet.com.

Grammy-nominated pianist and Steinway Artist Susan Grace has per-formed solo and chamber recitals, and has appeared as soloist with orches-tras in the United States, Europe, the former Soviet Union, Korea, India and China. She is a member of Quattro Mani, an internationally acclaimed two-piano ensemble with NY pianist Steven Beck. Recent performances include CUNY Graduate Center, Bargemusic, National Sawdust, Subcul-ture and Weill Recital Hall at Carnegie Hall and Steinway Hall in NY, La Labortoire Cambridge, Curtis Institute in Philadelphia and the Alabama and Austin Symphonies. Grace has recorded for Bridge Records, the Bel-gium National Radio, WFMT in Chicago, the Society of Composers, Wilson Audio, Klavier International and Klavier Music Productions. Grace is as-sociate chair, artist-in-residence and senior lecturer in music at Colorado College. She is also music director of the renowned Colorado College Sum-mer Music Festival, now in its 36th season.

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Colorado native Jacob Klock began with the Chamber Orchestra of the Springs in 2004-07 as Assistant Concertmaster and currently serves as Concertmaster, a position he has held since 2010. He has regularly been featured as soloist with the group during that time. Jacob is also a member of the Colorado Springs Philharmonic, and local string quartet Hausmusik. Venturing into the non-classical realm, he has played fiddle with Colorado Springs alt-country outfit, Joe Johnson & the Colorado Wildfire, since 2012.

Gerald Miller is a cellist specializing in performance and instruction of traditional and modern classical music. He is principal cellist with the Chamber Orchestra of the Springs and the Fresno Philharmonic. He also performs with the Colorado Springs Philharmonic as section and substi-tute principal cellist. Gerald’s solo career has taken him around the world to Europe and Asia, including Strasbourg; France; and New Delhi, India.

Allison Gioscia is the principal flutist of the Chamber Orchestra of the Springs and second flutist of the Greeley Philharmonic Orchestra, and fre-quently preforms with the Colorado Springs Philharmonic. Before moving to Colorado Springs, she was principal flutist of the Orquesta de UniNorte in Asunción, Paraguay and served as Professor of Flute at the Universidad Evangélica del Paraguay. Allison has previously held positions with Opera in the Ozarks (Eureka Springs, AR), the Eclectic Laboratory Chamber Or-chestra (Pittsburgh, PA), and the Nebraska Theatre Caravan (Omaha, NE). She is a graduate of the University of Northern Colorado.

After completing her master’s degree at Kent State University as a student of Jeffrey Rathbun, oboist Angie Burtz moved to Montana to play princi-pal oboe with the Great Falls Symphony and Chinook Winds Quintet. She subsequently played principal oboe with the Las Cruces Symphony and En-glish horn with the El Paso Symphony and Opera and taught oboe at New Mexico State University. She has performed with a variety of ensembles, including Ensemble Monterey Chamber Orchestra, Santa Cruz Symphony, Monterey Symphony, and the Colorado Springs Philharmonic. She cur-rently plays principal oboe with Chamber Orchestra of the Springs.

The Greenberg Center for Learning and Tolerance is the leading forum in the Pikes Peak region to facilitate respectful dialogue and inclusivity. We promote learning, understanding, and acceptance that honors the cultural dignity of all humanity. Last year, 1,879 attacks against Jews and Jewish institutions occurred across the nation. Another 1,445 victims were targeted because of their sexual orientation. Racial bias accounted for an additional 5,155 attacks. Hatred, intolerance, and discrimination are rampant even today in the United States. We are on a mission to remove the us-versus-them mentality that continues to plague our nation. We are passionate about creating change and breaking down barriers, and we are proud to have been a part of educating our community through relevant, insightful programs and events and look forward to continuing to do so. Visit our website (thegreenbergcenter.org) for a full listing of events. Our work began when Dr. David and Paulette Greenberg were presented with the Humanitarian Award for their work at Temple Shalom and in the Colorado Springs community. With the monies raised, the Greenberg Center for Learning and Tolerance was established in 2003. Since then, we have remained dedicated to our goals to inform and empower those around us.Visit the Pikes Peak Library District to see our Holocaust exhibit entitled The Courage to Remember. The exhibit includes a curriculum guide, books written by Holocaust survivors, and DVDs of General Sidney Gritz, a liberator of Buchenwald; and David Bram, a survivor of Auschwitz. To check out the exhibit, please contact:

Colleen Lark, Pikes Peak Library Districtclark@ppld.org

(719) 531-6333 • Extension 6407

for more information:chamberorchestraof thesprings.org

coloradocollege.edu/music