Click Here For Concert Program - Chamber Orchestra of the Springs
Click Here For Concert Program - Chamber Orchestra of the Springs
Click Here For Concert Program - Chamber Orchestra of the Springs
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
<strong>Chamber</strong> <strong>Orchestra</strong><br />
<strong>of</strong> <strong>the</strong> <strong>Springs</strong><br />
29 th Season 2012 - 2013<br />
Voyage on <strong>the</strong> Winds<br />
November 17-18, 2012<br />
<strong>For</strong> <strong>the</strong> Love <strong>of</strong> Music<br />
Thomas Wilson, Music Director
Fully invested in <strong>the</strong> performing arts<br />
Deron Hickman<br />
Financial Advisor<br />
Vice President – Investments<br />
Cher <strong>For</strong>d<br />
Financial Advisor<br />
Vice President – Investments<br />
Proud to sponsor <strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong>’s<br />
2012-2013 concert season<br />
Wells Fargo Advisors<br />
90 S. Cascade Avenue, Suite 300<br />
Colorado <strong>Springs</strong>, CO 80903<br />
719-577-5365 • herman.tiemens@wellsfargo.com<br />
Investment and Insurance Products: u NOT FDIC Insured u NO Bank Guarantee u MAY Lose Value<br />
Herman Tiemens II, MBA, CFP ®<br />
Senior Financial Advisor<br />
Vice President – Investments<br />
David Villafuerte, MBA<br />
Financial Advisor<br />
Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate <strong>of</strong> Wells Fargo & Company.<br />
©2012 Wells Fargo Advisors, LLC. All rights reserved. 1112-00471<br />
2<br />
Tiemens-<strong>Program</strong>-Ad_6x7.5_4D.indd 1 11/9/12 9:02 AM
<strong>Chamber</strong> <strong>Orchestra</strong> Of The <strong>Springs</strong><br />
The <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong> provides a unique opportunity for people in <strong>the</strong> Pikes<br />
Peak region to hear and appreciate <strong>the</strong> wealth <strong>of</strong> orchestral music for small orchestras. Through<br />
discovery, detailed rehearsal and exceptional performances, <strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong><br />
<strong>Springs</strong> presents great classical repertoire, uncovers forgotten gems <strong>of</strong> <strong>the</strong> past, and brings new<br />
music to our community.<br />
Nasit Ari, President<br />
Charlease Bobo, Past President<br />
Michael Grace, Vice President<br />
Nicole de Naray, Treasurer<br />
Helene Knapp, Volunteer Coordinator<br />
Susan Loring, Dir. <strong>of</strong> Educational Outreach<br />
We wish to express our sincere appreciation to <strong>the</strong> following organizations:<br />
H. CHasE stonE<br />
trust<br />
J. H. Edmondson<br />
Foundation<br />
“<strong>For</strong> <strong>the</strong> Love <strong>of</strong> Music”<br />
Board Of Trustees<br />
Roslyn Block, Dir. <strong>of</strong> Community Relations<br />
Chuck Cabell<br />
Pam Marsh<br />
Christina Soper-Schwartz<br />
Glen Whitehead<br />
Sylvia Hutson, Administrative Manager<br />
The Hester & Edwin<br />
Giddings<br />
Foundation<br />
<strong>Chamber</strong> <strong>Orchestra</strong> Of The <strong>Springs</strong><br />
P.O. Box 7911<br />
Colorado <strong>Springs</strong>, CO 80933–7911<br />
(719) 633–3649<br />
www.chamberorchestra<strong>of</strong><strong>the</strong>springs.org<br />
3<br />
John G. Duncan<br />
Charitable Trust
5<br />
Thomas Wilson<br />
Music Director<br />
Thomas Wilson is currently Music Director <strong>of</strong> <strong>the</strong><br />
<strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> Colorado <strong>Springs</strong> (known locally as<br />
“<strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong>”), Associate Conductor<br />
<strong>of</strong> <strong>the</strong> Colorado <strong>Springs</strong> Philharmonic, and serves on <strong>the</strong><br />
music faculties at Colorado College and <strong>the</strong> Colorado<br />
<strong>Springs</strong> Conservatory. He maintains an active schedule<br />
<strong>of</strong> guest conducting and composing, and is an arranger<br />
and orchestrator for several studios and prominent solo<br />
artists.<br />
Thomas began studying piano at <strong>the</strong> age <strong>of</strong> four. Later<br />
studies included trumpet, percussion, string bass, voice,<br />
conducting and composition. He holds degrees from <strong>the</strong><br />
University <strong>of</strong> Nor<strong>the</strong>rn Colorado, where he graduated<br />
summa cum laude and received <strong>the</strong> School <strong>of</strong> Music’s<br />
highest honor—<strong>the</strong> Departmental Scholar Award—and<br />
from Colorado State University.<br />
A strong advocate <strong>of</strong> collaboration and crossover in <strong>the</strong><br />
arts, which he views as essential to streng<strong>the</strong>ning arts organizations and music education, Thomas has<br />
been a tireless advocate for new music, blending <strong>of</strong> styles and artistic genres, and creating new and<br />
meaningful opportunities for young musicians. His performances and recordings reflect this diversity.<br />
Thomas has been called “someone to watch” and “a very exciting conductor” by Michael Tilson Thomas,<br />
one <strong>of</strong> <strong>the</strong> foremost conductors <strong>of</strong> our time.<br />
The <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong><br />
Acknowledges With Great Thanks Music Donations Made <strong>For</strong> This <strong>Concert</strong>:<br />
Wolfgang Amadeus Mozart: Clarinet <strong>Concert</strong>o in A Major, K. 622<br />
Donated in honor <strong>of</strong> Jay Norman in appreciation for his dedication to<br />
performance and teaching, with gratitude from <strong>the</strong> Bigbee family<br />
Johannes Brahms: Variations on a Theme <strong>of</strong> Haydn, op. 56a<br />
A gift from Virginia Snow and John Carter
Looking for an easy way to stay informed about<br />
88.7 KCME-FM’s programming and local arts events?<br />
KCME’s E-newsletter, Classical Matters, is your solution!<br />
Sign up today at www.KCME.org.<br />
Listener Supported Public Radio<br />
1921 North Weber Street, Colorado <strong>Springs</strong>, CO 80907<br />
phone 719.578.5263 800.492.5263 www.KCME.org<br />
Colorado <strong>Springs</strong>/Manitou <strong>Springs</strong>/Pueblo - 88.7 FM • Woodland Park - 93.5 FM<br />
Salida/Buena Vista - 88.1/89.5 FM • Cripple Creek/Victor - 89.5 FM<br />
Canon City/Florence - 91.1 FM • Summit County - 89.3 FM<br />
follow us on<br />
6
<strong>Chamber</strong> <strong>Orchestra</strong> Of The <strong>Springs</strong><br />
Thomas Wilson, Music Director<br />
Season Premiere:Voyage on <strong>the</strong> Winds<br />
November 17 & 18, 2012<br />
Ludwig van Beethoven Egmont Overture, op. 84<br />
(1770 – 1827)<br />
Max Reger Hermit Playing <strong>the</strong> Violin, from Four Böcklin Poems<br />
(1873 – 1916) Jakob Klock, violin<br />
Wolfgang Amadeus Mozart Clarinet <strong>Concert</strong>o in A Major, K. 622<br />
(1756 – 1791) I. Allegro<br />
II. Adagio<br />
III. Rondo: Allegro<br />
Ian Buckspan, clarinet<br />
INTERMISSION<br />
John Corigliano Voyage for Flute and Strings<br />
(b. 1938) Paul Nagem, flute<br />
Johannes Brahms Variations on a Theme <strong>of</strong> Haydn, op. 56a<br />
(1833 – 1897) Chorale St. Antoni<br />
Variation I: Poco più animato<br />
Variation II: Più vivace<br />
Variation III: Con moto<br />
Variation IV: Andante con moto<br />
Variation V: Vivace<br />
Variation VI: Vivace<br />
Variation VII: Grazioso<br />
Variation VIII: Presto non troppo<br />
Finale: Andante<br />
Movements played without pause.<br />
Please help us save paper and money by recycling your program back to <strong>the</strong> COS concert staff at <strong>the</strong> end <strong>of</strong> <strong>the</strong><br />
Saturday evening concert. You are welcome to take your program with you if you like, but if you don’t have a<br />
particular reason to hang onto it, please consider leaving it with us for <strong>the</strong> use <strong>of</strong> a Sunday afternoon patron!<br />
7
French Horn<br />
*Stephenie Osman<br />
Christina Schwartz-<br />
Soper<br />
Ken Soper<br />
Erin Powers<br />
Flute<br />
*Phyllis White<br />
Karen Morsch<br />
First Violin<br />
* 1 Jacob Klock<br />
Dagmar Mock<br />
Ryan Stauffer<br />
Sara Miller<br />
Ingri Fowler<br />
Gregory Gershtyn<br />
Elizabeth Greenberg<br />
* 1 <strong>Concert</strong> Master<br />
* 2 Asst. <strong>Concert</strong>master<br />
* Principal<br />
** Asst. Principal<br />
*† Acting Principal<br />
The Players Of The<br />
<strong>Chamber</strong> <strong>Orchestra</strong> Of The <strong>Springs</strong><br />
Bassoon<br />
*John Lawson<br />
Paul Ruff<br />
Piccolo:<br />
Sandra Tiemens<br />
Second Violin<br />
*† Kelly Dean Pilarczyk<br />
Debbie Youngerman<br />
Jesse Mauer<br />
Kadin Kostelic<br />
Andrea Bullock<br />
Charlease Bobo<br />
Deborah Falco<br />
Contrabassoon<br />
Deborah Torp<br />
Thomas Wilson<br />
Conductor<br />
8<br />
Trumpet<br />
*Glen Whitehead<br />
Dan Bell<br />
Oboe<br />
*Angie Burtz<br />
Carla Scott<br />
Viola<br />
*†Mat<strong>the</strong>w Canty<br />
Dan Masterson<br />
Rebecca Harrison<br />
Karla Powers<br />
Michael Hart<br />
Percussion<br />
*Carl Cook<br />
Chris Lundberg<br />
Clarinet<br />
*Jay Norman<br />
Heike Gazetti<br />
String Bass<br />
*Jay McGuffin<br />
Jan-Erik Hagglund<br />
Cello<br />
*†Pamela Chaddon<br />
**Veselka Kuzma<br />
Emma Patterson<br />
Timothy Ogilvie
Featured Artists<br />
Jacob Klock, violin<br />
Jacob Klock started playing <strong>the</strong> violin when he was six years old after<br />
being inspired by Walt Disney’s “Fantasia”. He began his orchestra<br />
career in <strong>the</strong> eighth grade when he was asked to be a violinist in <strong>the</strong><br />
Pueblo Symphony <strong>Orchestra</strong>. At <strong>the</strong> age <strong>of</strong> 19, he became Assistant<br />
<strong>Concert</strong>master <strong>of</strong> <strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong>. Within<br />
a year, he joined <strong>the</strong> second violin section <strong>of</strong> <strong>the</strong> Colorado <strong>Springs</strong><br />
Philharmonic. Now 25 years old, Jacob is a full-time member <strong>of</strong> <strong>the</strong><br />
Philharmonic and serves as <strong>Concert</strong>master <strong>of</strong> <strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong>. As a high<br />
school senior, he performed <strong>the</strong> Paganini Violin <strong>Concert</strong>o No. 1 with <strong>the</strong> CSU-Pueblo <strong>Orchestra</strong>.<br />
In a master class setting, Jacob has performed for Pinchas Zuckermen, Peter Oundjian and <strong>the</strong><br />
Kronos Quartet. Additionally, he was a member <strong>of</strong> <strong>the</strong> winning ensemble in <strong>the</strong> 2008 Lamont<br />
School <strong>of</strong> Music <strong>Chamber</strong> Competition. Jacob’s teachers include Karine Garibova at CSU-Pueblo<br />
and Linda Wang at University <strong>of</strong> Denver’s Lamont School <strong>of</strong> Music. When not playing <strong>the</strong> violin,<br />
Jacob enjoys performing with various ensembles (jazz, bluegrass, ska, metal) on many instruments,<br />
including trumpet, electric guitar, keyboards, guitar, bass, and fiddle. Jacob lives in Colorado<br />
<strong>Springs</strong> with his wife, Hea<strong>the</strong>r, and <strong>the</strong>ir two children.<br />
Ian Buckpan, clarinet<br />
Praised for his “wide range <strong>of</strong> tonal shadings and expressive nuances” (Michael<br />
Butterman, Boulder Philharmonic) and “uncanny technical ability” (Tom<br />
Wilson, Colorado <strong>Springs</strong> Philharmonic), Ian Buckpan is poised to be one<br />
<strong>of</strong> <strong>the</strong> leading clarinetists <strong>of</strong> his generation. Ian has received 1st place in<br />
numerous Young Artist competitions including <strong>the</strong> Denver Young Artist<br />
<strong>Orchestra</strong> (‘08), Arapahoe Philharmonic (‘08,) Boulder Philharmonic (‘07),<br />
Rocky Ridge Music Camp (‘05), Plymouth Congregational Church Music<br />
Contest (‘03), and Colorado Flute Association’s <strong>Concert</strong>o Contest (‘05). He<br />
has been named a Yamaha Young Performing Artist and was <strong>the</strong>ir Overall<br />
Winner at <strong>the</strong>ir 2009 Summer Symposium <strong>Concert</strong>. He is on <strong>the</strong> Young<br />
Musicians <strong>of</strong> Colorado roster <strong>of</strong> young artists, capturing <strong>the</strong>ir Top Performer<br />
prize for <strong>the</strong> Non-Piano, College Division in ‘08. He has received 2nd place in Aurora Symphony’s<br />
<strong>Concert</strong>o Competition and Jefferson Symphony’s Young Artist Competition, Honorable Mention<br />
in Missoula Symphony Association’s National Young Artist Competition, and was a Finalist in<br />
both CU-Boulder’s Honors Competition as well as Astral Artists National Auditions.<br />
Ian has appeared as <strong>the</strong> featured soloist with such orchestras as <strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong><br />
<strong>Springs</strong>, <strong>the</strong> Boulder Philharmonic, <strong>the</strong> Arapahoe Philharmonic, and <strong>the</strong> Rocky Ridge Music<br />
Camp <strong>Orchestra</strong> is Estes Park, Colorado. He has also appeared with <strong>the</strong> Denver Young Artist<br />
<strong>Orchestra</strong> where he was hailed as a “solid performer and outstanding musician” (Robin McNeil,<br />
YourHub.com).<br />
9<br />
Continued on page 11
Note to self:<br />
1. Contact Purple Elephant Realty<br />
2. Buy a house<br />
3. Create a home<br />
4. Start building memories<br />
Purple Purple Elephant Elephant<br />
a season <strong>of</strong> 1 Realty<br />
Remember our name for service you'll never forget!<br />
sts<br />
David Zuercher, Broker<br />
Supporting <strong>the</strong> ARTS in <strong>the</strong> Pikes Peak Region for over 30 years.<br />
phone: 719.599.5962 ~ e-mail: purpleelephantrealty@msn.com<br />
www.purpleelephantrealty.com<br />
Winter Dreams<br />
Luciano Silvestri, Jr., Conductor<br />
december 2, 2012<br />
Tchaikovsky: Symphony No. 1<br />
Tchaikovsky: Nutcracker Suite,<br />
No. 1, Op. 71a<br />
Anderson: Christmas Festival<br />
Anderson: Sleighride<br />
$10 adult $8 senior/student<br />
Sand Creek High School Auditorium<br />
7005 North Carefree Circle • 3 p.m.<br />
www.pikespeakphil.org<br />
10
Featured Artists<br />
Ian has extensive orchestral experience as well. He is currently Associate Principal and Eb clarinet<br />
<strong>of</strong> <strong>the</strong> Colorado <strong>Springs</strong> Philharmonic and has appeared with <strong>the</strong> Longmont Symphony, <strong>the</strong><br />
Boulder <strong>Chamber</strong> <strong>Orchestra</strong>, <strong>the</strong> Colorado Mahlerfest <strong>Orchestra</strong>, CU Opera, CU Light Opera,<br />
and <strong>the</strong> University <strong>of</strong> Colorado Symphony <strong>Orchestra</strong>. He has participated with <strong>the</strong> Denver<br />
Young Artist <strong>Orchestra</strong> for four seasons (DYAO), joining <strong>the</strong>m on <strong>the</strong>re ‘03 tour <strong>of</strong> Austria and<br />
Hungary as well as <strong>the</strong>ir ‘07 tour <strong>of</strong> Argentina.<br />
He has also participated in DYAO’s chamber music program, The Young <strong>Chamber</strong> Players (YCP),<br />
with such coaches as Barbara Hamilton, Paul Primus, Dan Knopff and Tamara Goldstein. He<br />
has recorded <strong>the</strong> Beethoven Trio Op. 11 and <strong>the</strong> Brahms Clarinet Quintet with <strong>the</strong> YCP at<br />
KVOD Classic Music Radio recording studio.<br />
His major teachers include Daniel Silver, Peter Cooper, Marlena Burghardt, and Jim Travis. He<br />
has earned a Bachelors Degree <strong>of</strong> Music at <strong>the</strong> University <strong>of</strong> Colorado at Boulder, graduating<br />
with Highest Honors and received such accolades as <strong>the</strong> Presser Award, Outstanding Junior and<br />
Outstanding Graduating Senior.<br />
Paul Nagem, flute<br />
Paul Nagem has held <strong>the</strong> position <strong>of</strong> Principal Flute in <strong>the</strong> Colorado <strong>Springs</strong><br />
Symphony/Philharmonic since 1994. A graduate <strong>of</strong> <strong>the</strong> New England<br />
Conservatory <strong>of</strong> Music, he studied <strong>the</strong>re with Lois Schaefer <strong>of</strong> <strong>the</strong> Boston<br />
Symphony. Prior to attending NEC he studied with Damian Bursill-<br />
Hall, <strong>the</strong>n Principal Flute <strong>of</strong> <strong>the</strong> San Diego Symphony and now with <strong>the</strong><br />
Pittsburgh Symphony. In addition to his duties with <strong>the</strong> Colorado <strong>Springs</strong><br />
Philharmonic Mr. Nagem serves as Instructor <strong>of</strong> Flute at <strong>the</strong> Colorado<br />
College. He is a member <strong>of</strong> <strong>the</strong> Colorado Ballet orchestra, and <strong>the</strong> Colorado<br />
<strong>Chamber</strong> players. He has performed with <strong>the</strong> Colorado Symphony, <strong>the</strong> San<br />
Diego Symphony and <strong>the</strong> Singapore Symphony.<br />
We invite you to personalize your donation by underwritings one <strong>of</strong><br />
our Principal Chairs. This is a unique opportunity to honor a loved one or friends.<br />
Your supporting donation will be acknowledged during <strong>the</strong> concert season<br />
with a notation on our <strong>Orchestra</strong> Roster page indicating your support.<br />
This affordable opportunity is available at three levels:<br />
$2000 - <strong>Concert</strong>master • $1400 - String principals<br />
$750 - Wind/Brass/Percussion principals<br />
Please contact 633-3649 or chamorch@gmail.com<br />
to take advantage <strong>of</strong> this underwriting opportunity.<br />
11
Bending Towards <strong>the</strong> Light, a Jazz Nativity<br />
An exhilarating evening <strong>of</strong> great <strong>the</strong>atre combined with <strong>the</strong> soaring notes <strong>of</strong> jazz<br />
that interprets <strong>the</strong> beautiful, traditional Christmas story in a new, unique way!<br />
December 1, 2 & 3, 2012<br />
7:30 pm. Doors open at 6:45 pm.<br />
Broadmoor Community Church, 315 Lake Ave.<br />
Featuring an all- pr<strong>of</strong>essional, all-Colorado <strong>Springs</strong> cast!<br />
Produced by Ka<strong>the</strong>rine Loo and Judith Sellers<br />
QUESTIONS: Call 719-471-1834 or judysell@aol.com<br />
www.towards<strong>the</strong>light.us<br />
“You dance in your seat - fervent jazz and wondrous joy”<br />
“Amen and Halleluiah-you made a joyful noise<br />
happen for each one <strong>of</strong> us!”<br />
12<br />
TICKETS: VIP:$40, General Admission $20<br />
Available at <strong>the</strong> Fine Arts Center Box Office<br />
30 West Dale Street, 634-5583<br />
www.csfineartscenter.org
Ludwig van Beethoven<br />
Egmont Overture, op. 84<br />
Overview: Ludwig van Beethoven<br />
Born: December 16, 1770, in Bonn, Germany<br />
Died: March 26, 1827, in Vienna<br />
Work Composed: 1809 – 1810<br />
Why It Matters: Beethoven was a revolutionary<br />
inspired by <strong>the</strong> American and French revolutions<br />
and a voice for freedom <strong>of</strong> expression throughout<br />
much <strong>of</strong> <strong>the</strong> world. His dramatic<br />
music about revolutionary figures<br />
occupies a special, personal place<br />
in his repertoire.<br />
Keep your eye on him; he will<br />
make <strong>the</strong> world talk about him<br />
some day.—Mozart, after meeting<br />
Beethoven, in a letter to Beethoven’s fa<strong>the</strong>r dated 1787.<br />
Beethoven was <strong>the</strong> pillar <strong>of</strong> smoke that led to <strong>the</strong><br />
Promised Land.—Franz Liszt.<br />
One <strong>of</strong> <strong>the</strong> first things Josef Härtl did,<br />
after taking over <strong>the</strong> management <strong>of</strong> <strong>the</strong> Vienna<br />
Court Theaters in 1808, was to put into process a<br />
revival <strong>of</strong> plays by Goe<strong>the</strong> and Schiller with specially<br />
composed music. Beethoven was a natural choice<br />
for such a project, and composed music for Goe<strong>the</strong>’s<br />
Egmont, supplying an overture, four entr’actes, two<br />
songs for <strong>the</strong> heroine (Clärchen), <strong>the</strong> music for<br />
Clärchen’s death, a “melodrama” and, for <strong>the</strong> finale,<br />
a “Triumph Symphony.” The premier took place at<br />
<strong>the</strong> H<strong>of</strong>burg Theater in Vienna on May 24, 1810.<br />
Egmont, op. 84, was hardly a “sure thing,” however.<br />
Beethoven and Goe<strong>the</strong> had been notoriously fond <strong>of</strong><br />
each o<strong>the</strong>r’s talents, even to <strong>the</strong> point <strong>of</strong> drawing jibes<br />
from critics as something <strong>of</strong> a mutual admiration<br />
society. Perhaps to distance himself, Beethoven<br />
originally requested to write music for Schiller’s<br />
William Tell, but <strong>the</strong>ater politics sent that project to<br />
Adalbert Gyrowetz, a Bohemian composer.<br />
Behind <strong>the</strong> scenes, <strong>the</strong> real drama was<br />
that Beethoven and Goe<strong>the</strong> didn’t have <strong>the</strong> mutual<br />
<strong>Program</strong> Notes<br />
Voyage on <strong>the</strong> winds<br />
13<br />
admiration society <strong>the</strong>ir critics alleged. Goe<strong>the</strong> sheds<br />
light on <strong>the</strong> situation in a personal letter: “I made<br />
<strong>the</strong> acquaintance <strong>of</strong> Beethoven at Teplitz. His talent<br />
astonished me prodigiously, but he is, unfortunately,<br />
a wholly untamed person. It is true that he is not<br />
utterly wrong when he finds <strong>the</strong> world detestable,<br />
but this will not make it more enjoyable for himself<br />
and for o<strong>the</strong>rs. Yet he is to be excused and much<br />
pitied, for he has lost his hearing, which is, perhaps,<br />
<strong>of</strong> less injury to his art than to his social relations.<br />
Already laconic by nature, he will be doubly so by<br />
reason <strong>of</strong> <strong>the</strong> infirmity.”<br />
Beethoven, meanwhile, complained to<br />
Härtl: “Goe<strong>the</strong> is too fond <strong>of</strong> <strong>the</strong> atmosphere <strong>of</strong> <strong>the</strong><br />
court; fonder than becomes a poet. There is little<br />
room for sport over <strong>the</strong> absurdities <strong>of</strong> <strong>the</strong> virtuosi<br />
when poets, who ought to be looked upon as <strong>the</strong><br />
foremost teachers <strong>of</strong> <strong>the</strong> nation, can forget everything<br />
else in <strong>the</strong> enjoyment <strong>of</strong> court glitter.”<br />
The hero for Goe<strong>the</strong>’s tragedy, Count<br />
Egmont (1522 – 1568), played a critical role in <strong>the</strong><br />
early upheavals <strong>of</strong> <strong>the</strong> Low Countries, which later<br />
resulted in <strong>the</strong>ir liberation from <strong>the</strong> Spanish. He<br />
was first a captain under Charles V in <strong>the</strong> campaign<br />
against <strong>the</strong> French. His success in <strong>the</strong> campaign,<br />
however, earned him <strong>the</strong> envy and enmity <strong>of</strong> <strong>the</strong><br />
Duke <strong>of</strong> Alba, while his countrymen chose to honor<br />
him as an emancipator who had rescued Flanders<br />
from <strong>the</strong> French. Charles V’s successor, Philipp II,<br />
tried to turn Flanders into a Spanish dependency, but<br />
Egmont protested—a gesture seen as tantamount to<br />
open rebellion. As a result, when <strong>the</strong> Duke <strong>of</strong> Alba<br />
went to <strong>the</strong> Ne<strong>the</strong>rlands in 1567 to quell uprisings,<br />
Egmont was imprisoned and put to death at Brussels<br />
on June 4, 1568. His execution made Egmont a<br />
martyr to his cause.<br />
About Ludwig van Beethoven: Beethoven was<br />
born in <strong>the</strong> provincial court city <strong>of</strong> Bonn, Germany,<br />
probably on December 16, 1770. Beethoven’s talent<br />
was such that, at <strong>the</strong> age <strong>of</strong> 12, he was already assistant<br />
<strong>Program</strong> notes continue on page 14
to <strong>the</strong> organist Christian Gottlob Neefe, with whom<br />
he studied. Attempts to establish him as a prodigy in<br />
<strong>the</strong> mold <strong>of</strong> Mozart had little success, however.<br />
In 1787, Beethoven was sent to Vienna,<br />
but his mo<strong>the</strong>r fell ill, and he had to return to Bonn<br />
almost immediately. She died a few months later,<br />
and in 1789 Beethoven himself requested that his<br />
alcoholic fa<strong>the</strong>r be retired, a move that left him<br />
responsible for his two younger bro<strong>the</strong>rs. Beethoven<br />
left Bonn for Vienna a second time in November <strong>of</strong><br />
1792, in order to study with Haydn.<br />
In 1794, French forces occupied <strong>the</strong><br />
Rhineland; consequently, Beethoven’s ties with and<br />
support from <strong>the</strong> Bonn court came to an end. His<br />
fa<strong>the</strong>r had died a month after his departure from<br />
Bonn, and his bro<strong>the</strong>rs joined him in Vienna. He<br />
remained <strong>the</strong>re <strong>the</strong> rest <strong>of</strong> his life, leaving only for<br />
holidays and concerts in nearby cities. His only<br />
extended journey was to Prague, Dresden, and<br />
Berlin in 1796. Beethoven never held an <strong>of</strong>ficial<br />
position in Vienna. He supported himself by giving<br />
concerts, teaching piano, and through <strong>the</strong> sale <strong>of</strong> his<br />
compositions. Members <strong>of</strong> <strong>the</strong> Viennese aristocracy<br />
were his steady patrons, and in 1809 three <strong>of</strong> <strong>the</strong>m—<br />
Prince Kinsky, Prince Lobkowitz, and <strong>the</strong> Archduke<br />
Rudolph—even guaranteed him a yearly income<br />
with <strong>the</strong> sole condition that he remain in Vienna.<br />
The last 30 years <strong>of</strong> Beethoven’s life were<br />
shaped by a series <strong>of</strong> personal crises, <strong>the</strong> first <strong>of</strong> which<br />
was <strong>the</strong> onset <strong>of</strong> deafness. The early symptoms,<br />
noticeable to <strong>the</strong> composer already before 1800,<br />
affected him socially more than musically. His<br />
reaction was despair, resignation, and defiance.<br />
Resolving finally to “seize fate by <strong>the</strong> throat,” he<br />
emerged from <strong>the</strong> crisis with a series <strong>of</strong> triumphant<br />
works that mark <strong>the</strong> beginning <strong>of</strong> a new period in his<br />
stylistic development.<br />
A second crisis a decade later was <strong>the</strong><br />
breaking <strong>of</strong>f <strong>of</strong> a relationship with an unnamed<br />
lady (probably Antonie Brentano, <strong>the</strong> wife <strong>of</strong> a<br />
friend) known to us as <strong>the</strong> “Immortal Beloved,” as<br />
Beethoven addressed her in a series <strong>of</strong> letters in July,<br />
1812. This was apparently <strong>the</strong> most serious <strong>of</strong> several<br />
<strong>Program</strong> Notes, continued<br />
such relationships with women who were in some<br />
way out <strong>of</strong> his reach, and its traumatic conclusion<br />
was followed by a lengthy period <strong>of</strong> resignation and<br />
reduced musical activity.<br />
During this time Beethoven’s deafness<br />
advanced to <strong>the</strong> stage that he could no longer<br />
perform publicly, and he required a slate or little<br />
notebooks (now known as “conversation books”) to<br />
communicate with visitors. The death <strong>of</strong> his bro<strong>the</strong>r<br />
Caspar Carl in 1815 led to a 5-year legal struggle<br />
for custody <strong>of</strong> Caspar’s son Karl, <strong>the</strong>n 9 years old,<br />
in whom Beethoven saw a last chance for <strong>the</strong><br />
domestic life that had o<strong>the</strong>rwise eluded him. His<br />
possessiveness <strong>of</strong> Karl provoked a final crisis in <strong>the</strong><br />
summer <strong>of</strong> 1826, when <strong>the</strong> young man attempted<br />
suicide. Shortly <strong>the</strong>reafter, Beethoven’s health began<br />
to fail, and he died on March 26, 1827, in Vienna.<br />
Max Reger<br />
Hermit Playing <strong>the</strong> Violin,<br />
from “Four Böcklin Poems”<br />
Overview: Max Reger<br />
Born: March 19, 1873, in Bavaria<br />
Died: May 11, 1916, in Leipzig<br />
Work Composed: 1913<br />
Why It Matters: While music <strong>of</strong> <strong>the</strong> early twentieth<br />
century was engulfed in modernism, composers like<br />
Reger continued in <strong>the</strong> Romantic tradition. One<br />
<strong>of</strong> Reger’s best and most mature<br />
works, Four Böcklin Poems is an<br />
underperformed gem.<br />
I am sitting in <strong>the</strong> smallest room<br />
<strong>of</strong> my house. I have your review<br />
before me. In a moment it will<br />
be behind me.—Max Reger,<br />
responding to a critic.<br />
Four popular paintings by Swiss artist<br />
Arnold Böcklin were <strong>the</strong> inspiration for Max<br />
Reger’s Four Tone Poems after Arnold Böcklin,<br />
composed in 1913. Pictorial narratives were<br />
<strong>Program</strong> notes continue on page 16<br />
15
common in Reger’s works, fitting particularly well<br />
with his idealistic, Wilhelminian aes<strong>the</strong>tic beliefs.<br />
In 1910, Reger became increasingly concerned<br />
about <strong>the</strong> course <strong>of</strong> modern music and shared with<br />
his family and friends his desire to continue <strong>the</strong><br />
search for an ever-higher art <strong>of</strong> musical expression<br />
without modern sensationalism. The Four Böcklin<br />
Poems represent <strong>the</strong>se ideals and Reger’s most<br />
mature orchestral language. Throughout, he uses<br />
many divisis in <strong>the</strong> strings along with extended<br />
string techniques, unique woodwind voicings,<br />
and <strong>the</strong> subtlest use <strong>of</strong> <strong>the</strong> harp for haunting<br />
tonal color. The first movement, “Hermit Playing<br />
<strong>the</strong> Violin”, is <strong>the</strong> most popular, original, and<br />
innovative movement <strong>of</strong> <strong>the</strong> piece—thoroughly<br />
modern without consciously trying.<br />
About Max Reger: Max Reger owed his early<br />
musical leanings to <strong>the</strong> example and enthusiasm <strong>of</strong><br />
his fa<strong>the</strong>r, a schoolmaster and amateur musician,<br />
and his early training to <strong>the</strong> town organist <strong>of</strong><br />
Weiden, Adalbert Lindner. Reger was born in<br />
1873 at Brand in <strong>the</strong> Upper Palatinate, Bavaria.<br />
The following year <strong>the</strong> family moved to Weiden<br />
and it was here that he spent his childhood and<br />
adolescence, entering a course <strong>of</strong> teacher training,<br />
when he left school. Lindner had sent examples <strong>of</strong><br />
Reger’s early work to Riemann, who accepted him<br />
as a pupil, initially in Sondershausen and <strong>the</strong>n as<br />
his assistant in Wiesbaden. Military service, which<br />
affected Reger’s health and spirits, was followed by<br />
a period at home with his parents in Weiden and<br />
a continuing series <strong>of</strong> compositions, mostly for<br />
organ, including a monumental series <strong>of</strong> chorale<br />
fantasias and o<strong>the</strong>r compositions.<br />
In 1901, Reger, moved to Munich, where<br />
he spent <strong>the</strong> next six years. His position in musical<br />
life was not without difficulty, since he was seen as<br />
a champion <strong>of</strong> absolute music and as hostile at<br />
this time to “program music” and <strong>the</strong> legacy <strong>of</strong><br />
Wagner and Liszt. He was, however, successful as<br />
a pianist and was gradually able to find an audience<br />
for his music. The period in Munich saw <strong>the</strong><br />
<strong>Program</strong> Notes, continued<br />
16<br />
composition <strong>of</strong> his Sinfonietta, chamber music,<br />
his important Variations and Fugue on a Theme <strong>of</strong><br />
J.S. Bach for piano, and <strong>the</strong> Variations and Fugue<br />
on a Theme <strong>of</strong> Beethoven for orchestra. In 1907, he<br />
took an appointment as pr<strong>of</strong>essor <strong>of</strong> composition<br />
at <strong>the</strong> University <strong>of</strong> Leipzig. His music now<br />
found a wider international audience, supported<br />
by his own distinction as a performer, with<br />
concert appearances in London, St. Petersburg,<br />
<strong>the</strong> Ne<strong>the</strong>rlands, Austria, and Germany.<br />
The year 1911 brought an invitation<br />
from <strong>the</strong> Duke <strong>of</strong> Saxe-Meiningen to accept <strong>the</strong><br />
position <strong>of</strong> conductor <strong>of</strong> <strong>the</strong> court orchestra, an<br />
ensemble established by Han von Bülow and<br />
once conducted by Richard Strauss at <strong>the</strong> outset<br />
<strong>of</strong> his career. Reger held this position until <strong>the</strong><br />
beginning <strong>of</strong> <strong>the</strong> war, when <strong>the</strong> orchestra was<br />
disbanded, an event that coincided with his own<br />
earlier intention to resign. He spent his final<br />
years based in Jena, but continuing his activities<br />
as a composer and concert performer. He died<br />
in Leipzig in May 1916 on his way back from a<br />
concert tour <strong>of</strong> <strong>the</strong> Ne<strong>the</strong>rlands.<br />
Reger was a prolific composer, continuing<br />
<strong>the</strong> tradition <strong>of</strong> Bach, Mozart, and <strong>the</strong> great<br />
German composers <strong>of</strong> <strong>the</strong> nineteenth century,<br />
with a technical mastery and a command <strong>of</strong><br />
harmonic and contrapuntal resources that allowed<br />
him to expand <strong>the</strong> bounds <strong>of</strong> tonality in chromatic<br />
exploration.<br />
Thanks for listening! Now we’d like<br />
to hear from you! Contact us at<br />
chamorch@gmail.com<br />
with your questions and comments.<br />
We’re all ears!
Wolfgang Amadeus Mozart<br />
Clarinet <strong>Concert</strong>o<br />
in A Major, K. 622<br />
Overview: Wolfgang Amadeus Mozart<br />
Born: January 27, 1756, in Salzburg<br />
Died: December 5, 1791, in Vienna<br />
Work Composed: September 28 – November 15,<br />
1791<br />
Why It Matters: Finished less than a month before<br />
he died, this is Mozart’s last concerto. The lyricism,<br />
grace, and extended structure <strong>of</strong><br />
<strong>the</strong> piece set a new standard for<br />
wind and brass concerti.<br />
I declare to you before God, and<br />
as an honest man, that your son<br />
is <strong>the</strong> greatest composer I know,<br />
ei<strong>the</strong>r personally or by name.<br />
–Joseph Haydn, to Leopold Mozart.<br />
The clarinet was still a newcomer to <strong>the</strong><br />
orchestra when Mozart composed his Clarinet<br />
<strong>Concert</strong>o in A Major, K. 622. Mozart added<br />
clarinets to his “Paris” symphony (no. 31) in<br />
1778, but it would be ano<strong>the</strong>r decade and nine<br />
symphonies later before clarinets would play a part<br />
in his G Minor symphony (no. 40), and <strong>the</strong>n only<br />
in an optional role. A clarinet concerto by a major<br />
composer was almost unthinkable were it not for<br />
Anton Stadler, virtuoso clarinetist <strong>of</strong> <strong>the</strong> Viennese<br />
court orchestra since 1787. Mozart and Stadler<br />
met in 1784, when Stadler was a performer in one<br />
<strong>of</strong> Mozart’s wind serenades. Like Mozart, Stadler<br />
joined <strong>the</strong> Freemasons, and <strong>the</strong>y soon became good<br />
friends. Mozart had already composed a concerto<br />
for basset horn (a slightly larger member <strong>of</strong> <strong>the</strong><br />
clarinet family commonly used in church music)<br />
and his Clarinet Quintet, K. 581, for Stadler.<br />
Mozart would rework <strong>the</strong> first movement <strong>of</strong> <strong>the</strong><br />
basset horn concerto for <strong>the</strong> clarinet concerto, <strong>the</strong>n<br />
add two new movements to round out <strong>the</strong> piece.<br />
Completed at <strong>the</strong> absolute height <strong>of</strong> his abilities,<br />
<strong>Program</strong> Notes, continued<br />
17<br />
this is Mozart’s final concerto, especially notable<br />
for its interplay between soloist and orchestra.<br />
About Wolfgang Amadeus Mozart: Mozart<br />
(1756-1791) showed such a prodigious talent<br />
for music in his early childhood that his fa<strong>the</strong>r,<br />
also a composer, dropped all o<strong>the</strong>r ambitions<br />
and devoted himself to educating <strong>the</strong> boy and<br />
exhibiting his accomplishments. Between ages<br />
six and fifteen, Mozart was on tour over half <strong>the</strong><br />
time. By 1762, he was a virtuoso on <strong>the</strong> clavier—<br />
an early keyboard instrument and predecessor <strong>of</strong><br />
<strong>the</strong> piano—and soon became a good organist and<br />
violinist as well. He produced his first minuets at<br />
<strong>the</strong> age <strong>of</strong> six, and his first symphony just before<br />
his ninth birthday, his first oratorio at eleven, and<br />
his first opera at twelve. His final output would<br />
total more than 600 compositions. Much has<br />
already been said and studied in <strong>the</strong> popular media<br />
about Mozart’s roguish lifestyle and apprehension<br />
<strong>of</strong> conformity. It was this aspect <strong>of</strong> his personality<br />
that never won him <strong>the</strong> support <strong>of</strong> royalty or<br />
<strong>the</strong> church, which, at that time, was critical to<br />
any composer’s survival. As such, Mozart died<br />
young, ill, poor, and relatively unappreciated …<br />
only to become <strong>the</strong> mostly widely acknowledged<br />
orchestral composer in history.<br />
The <strong>Chamber</strong> <strong>Orchestra</strong><br />
Volunteer Corps<br />
We wish to thank our volunteeers who assisted<br />
at our opening concert at <strong>the</strong> Cornerstone Arts<br />
Center: Beverly and Denis Pirio, Victoria and<br />
Fred Boswell, Mary Wieger, Jean Tarkowski,Hallie<br />
Cabell, and Mike DeMaree. Also, board members<br />
Susan Loring, Michael Grace, Nicole DeNaray,<br />
and Nasit Ari.<br />
If you are interested in joining our Volunteer<br />
Corps, Please call Helene Knapp 576-1814 or<br />
Pam Marsh 634-6171.<br />
“<strong>For</strong> <strong>the</strong> Love <strong>of</strong> Music”<br />
<strong>Program</strong> notes continue on page 18
John Corigliano<br />
Voyage for Flute and Strings<br />
Overview: John Corigliano<br />
Born: February 16, 1938, in New York City<br />
Work Composed: 1983<br />
Why It Matters: John Corigliano is one <strong>of</strong> <strong>the</strong> most<br />
distinguished American composers <strong>of</strong> our time. He<br />
is one <strong>of</strong> <strong>the</strong> few modern composers who not only<br />
wrote exceptional film scores, but was also able to<br />
transition to a successful career in <strong>the</strong> concert hall.<br />
He works for flute and orchestra,<br />
written for Sir James Galway, and<br />
some <strong>of</strong> <strong>the</strong> best modern works<br />
for flute.<br />
He is a performer’s dream—every<br />
note has a place, a direction and a<br />
purpose, and his master <strong>of</strong> sound<br />
color in orchestration is unparalleled.—Joshua Bell<br />
Voyage for Flute and String <strong>Orchestra</strong><br />
(1983) is an instrumental reworking <strong>of</strong> a 1971<br />
choral piece, setting Richard Wilbur’s translation<br />
<strong>of</strong> Baudelaire’s 1857 L’Invitation au voyage,<br />
in which Baudelaire muses about a world <strong>of</strong><br />
obsessive imagination—what Corigliano called “a<br />
drugged version <strong>of</strong> heaven full <strong>of</strong> sensual imagery.”<br />
Unmistakable is Corigliano’s musical reference to<br />
Baudelaire’s refrain: “There, <strong>the</strong>re is nothing else<br />
but grace and measure, richness, quietness, and<br />
pleasure.” The piece was commissioned by Sir<br />
James Galway.<br />
About John Corigliano: Italian-American composer<br />
John Corigliano was born on February 16, 1938,<br />
in New York City, to a musical family. His fa<strong>the</strong>r<br />
was concertmaster <strong>of</strong> <strong>the</strong> New York Philharmonic<br />
for 23 years and his mo<strong>the</strong>r was an educator and<br />
a fine pianist. He received degrees in composition<br />
from Columbia University and <strong>the</strong> Manhattan<br />
School <strong>of</strong> Music, and worked in various producing<br />
jobs (including as an assistant to <strong>the</strong> producer <strong>of</strong><br />
Leonard Bernstein’s Young People’s <strong>Concert</strong>s) until<br />
his composition career took over when he won<br />
<strong>Program</strong> Notes, continued<br />
18<br />
<strong>the</strong> Spoleto Festival competition with his Sonata<br />
for Violin and Piano (1963). Although dedicated<br />
primarily to orchestral and chamber music, his<br />
1980 score for Altered States is still seen as a critical<br />
and groundbreaking film score, and he we won an<br />
Oscar in 1999 for The Red Violin. His Symphony<br />
No. 1 (1999) shook <strong>the</strong> orchestral world with <strong>the</strong><br />
first major work about <strong>the</strong> AIDS crisis, and his<br />
Symphony No. 2 (2001) won <strong>the</strong> Pulitzer Prize<br />
for Music. He teaches composition at Lehman<br />
College <strong>of</strong> <strong>the</strong> City University <strong>of</strong> New York and<br />
<strong>the</strong> Juilliard School <strong>of</strong> Music.<br />
Johannes Brahms<br />
Variations on a Theme<br />
<strong>of</strong> Haydn, op. 56a<br />
Overview: Johannes Brahms<br />
Born: May 7, 1833, in Hamburg<br />
Died: April 3, 1897, in Vienna<br />
Work Composed: 1809 – 1810<br />
Why It Matters: Beethoven was a revolutionary<br />
inspired by <strong>the</strong> American and French revolutions<br />
and a voice for freedom <strong>of</strong> expression throughout<br />
much <strong>of</strong> <strong>the</strong> world. His dramatic music about<br />
revolutionary figures occupies<br />
a special, personal place in his<br />
repertoire.<br />
“Many new and remarkable<br />
talents have made <strong>the</strong>ir<br />
appearance, and a fresh<br />
musical power seemed about to reveal itself among<br />
<strong>the</strong> many aspiring artists <strong>of</strong> <strong>the</strong> day, even though<br />
<strong>the</strong>ir compositions were known only to <strong>the</strong> few. I<br />
thought to follow with interest <strong>the</strong> pathway <strong>of</strong> <strong>the</strong>se<br />
elect; <strong>the</strong>re would, <strong>the</strong>re must, after such promise,<br />
suddenly appear one who should utter <strong>the</strong> highest<br />
ideal expression <strong>of</strong> his time, who should claim <strong>the</strong><br />
Mastership by no gradual development, but burst
upon us fully equipped, as Minerva sprang from <strong>the</strong><br />
brain <strong>of</strong> Jupiter. And he has come, this chosen youth,<br />
over whose cradle <strong>the</strong> Graces and Heroes seem to<br />
have kept watch. His name is Johannes Brahms.”—<br />
Schumann, in <strong>the</strong> Neue Zeitschrift für Musik,<br />
Oct. 28, 1853.<br />
Brahms’ Variations on a Theme by Haydn,<br />
op. 56a, have a curious history. We now know that<br />
Haydn had nothing to do with <strong>the</strong>se magnificent<br />
variations. Though Brahms did not know that,<br />
this achievement <strong>of</strong> turning an obscure tune into<br />
one <strong>of</strong> <strong>the</strong> most beloved <strong>the</strong>mes in music is surely<br />
more significant than its pedigree. Brahms’ friend,<br />
Carl Ferdinand Pohl, <strong>the</strong> author <strong>of</strong> an important<br />
early biography <strong>of</strong> Haydn, first showed Brahms <strong>the</strong><br />
<strong>the</strong>me he would later make famous. Brahms had<br />
always been exceptionally interested in older music;<br />
he closely studied <strong>the</strong> six recently discovered wind<br />
serenades Pohl attributed to Haydn. The second<br />
movement <strong>of</strong> one, in B-flat Major, particularly<br />
attracted him. He wrote it out and put it in a<br />
folder labeled “copies <strong>of</strong> outstanding masterpieces<br />
<strong>of</strong> <strong>the</strong> 16th-18th centuries for study purposes” that<br />
he had been compiling for years. Brahms wrote<br />
<strong>the</strong> words “Chorale St. Antoni” next to <strong>the</strong> <strong>the</strong>me.<br />
In May <strong>of</strong> 1873, Brahms started to compose a set<br />
<strong>of</strong> variations for two pianos on <strong>the</strong> St. Antoni<br />
<strong>the</strong>me. On August 20, he and Clara Schumann<br />
played through <strong>the</strong> work toge<strong>the</strong>r. Sometime<br />
that Summer, Brahms also began an orchestral<br />
version <strong>of</strong> <strong>the</strong> variations, which was premiered<br />
on October 4 by <strong>the</strong> Vienna Philharmonic, and<br />
was rapturously received. The eight variations<br />
were so imaginative and well-crafted, <strong>the</strong>y were<br />
immediately recognized as something unique and<br />
original. Brahms follows with a fur<strong>the</strong>r innovation<br />
in <strong>the</strong> finale, fashioning a five-measure bass line<br />
that he repeats, unchanged, seventeen times—<strong>the</strong><br />
strictness <strong>of</strong> that formula inspiring him to new<br />
heights <strong>of</strong> invention. The work ends in triumph<br />
<strong>Program</strong> Notes, continued<br />
19<br />
with <strong>the</strong> full restatement <strong>of</strong> <strong>the</strong> <strong>the</strong>me. And where<br />
did that <strong>the</strong>me come from? It is now believed that<br />
Brahms’ beloved <strong>the</strong>me is <strong>the</strong> work <strong>of</strong> Haydn’s star<br />
pupil, Ignaz Pleyel. As for Brahms’ “St. Antoni<br />
Chorale” subtitle, that may be his alone!<br />
About Johannes Brahms: Johannes Brahms was<br />
born in Hamburg, Germany, on May 7, 1833.<br />
He first studied music with his fa<strong>the</strong>r, a doublebass<br />
player for <strong>the</strong> Hamburg opera; subsequently<br />
he studied composition with Eduard Marxsen.<br />
Brahms was a talented pianist, giving his first<br />
public recital at <strong>the</strong> age <strong>of</strong> 14.<br />
On a concert tour in 1853 as accompanist<br />
for <strong>the</strong> Hungarian violinist Eduard Remenyi,<br />
Brahms met Franz Liszt, who praised <strong>the</strong> 20-yearold’s<br />
Scherzo in E-Flat Minor and his piano sonatas.<br />
Brahms, however, never became personally friendly<br />
with Liszt, and in 1860 he signed a manifesto<br />
attacking <strong>the</strong> so-called Music <strong>of</strong> <strong>the</strong> Future, which<br />
Liszt championed. More fruitful for Brahms was<br />
his meeting with Robert Schumann, who hailed<br />
<strong>the</strong> young composer as <strong>the</strong> coming genius <strong>of</strong><br />
German music and arranged for <strong>the</strong> publication <strong>of</strong><br />
his first songs and piano sonatas. Schumann died<br />
in 1856, and Brahms remained a devoted friend<br />
<strong>of</strong> his widow, Clara Wieck Schumann, until her<br />
death in 1896. Brahms never married, although<br />
he had a large circle <strong>of</strong> friends and patrons.<br />
After Brahms was rejected for a post as<br />
conductor in Hamburg in 1862, he visited Vienna<br />
and later (1868) made his home <strong>the</strong>re, originally<br />
working as a choral conductor. Brahms conducted<br />
<strong>the</strong> orchestra <strong>of</strong> <strong>the</strong> Society <strong>of</strong> <strong>the</strong> Friends <strong>of</strong><br />
Music in Vienna from 1872 to 1875, after which<br />
he devoted himself entirely to composition.<br />
Brahms made his will in 1891 and <strong>the</strong>n embarked<br />
with renewed vigor on <strong>the</strong> composition <strong>of</strong> many<br />
<strong>of</strong> his best works. These later works were mostly<br />
unpublished until after Brahms died in Vienna on<br />
April 3, 1897.
<strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong> Supporters<br />
The following members <strong>of</strong> our audience are as passionate about <strong>the</strong> activities <strong>of</strong> <strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong><br />
as are its players and Board <strong>of</strong> Directors. We <strong>of</strong>fer <strong>the</strong>m our heartfelt gratitude.<br />
Season Underwriter<br />
$5,000 & up<br />
Inasmuch Foundation<br />
Bee Vradenburg Foundation<br />
<strong>Chamber</strong> <strong>Orchestra</strong> Audience<br />
25th Anniversary Fund<br />
H. Chase StoneTrust<br />
<strong>Concert</strong> Sponsor<br />
$2,500 to $4,999<br />
Libby Rittenberg and Nasit Ari<br />
Norton Bain,<br />
Bain Family Foundation<br />
Colorado Creative Industries<br />
John G. Duncan Charitable Trust<br />
The Hester and Edwin Giddings<br />
Foundation<br />
Gay & Lesbian Fund for Colorado<br />
JP Morgan<br />
Pikes Peak Community<br />
Foundation-Fund for <strong>the</strong> Arts<br />
Herman Tiemens II &<br />
Charlotte Maier<br />
Conductors Circle<br />
$1,000 to $2,499<br />
Virginia Snow and John Carter<br />
Joseph Henry Edmondson<br />
Foundation<br />
El Pomar Foundation<br />
Michael and Susan Grace<br />
Dusty and Kathy Loo Fund<br />
<strong>of</strong> <strong>the</strong> Pikes Peak Community<br />
Foundation<br />
Terry and Darryl Thatcher<br />
Benefactor:<br />
$500 to $999<br />
Charlease Bobo<br />
Charles and Annie Ruth Bobo<br />
Raymond and Barbara Brown<br />
Nicole and Andrew De Naray<br />
Sam Hall<br />
Walter & Es<strong>the</strong>r Harder<br />
Richard and Sandra Hilt<br />
Helene Knapp<br />
Terry & Elizabeth Lilly<br />
Dr. Stephen & Pamela Marsh<br />
Bob and Lisa Rennick<br />
James Rynning<br />
Verizon Foundation<br />
on behalf <strong>of</strong> John Lawson<br />
Allan and Gloria Wendt<br />
Sustainer:<br />
$250 to $499<br />
Judy Biondini<br />
Charles and Hallie Cabell<br />
Jane Dillon & David Bredemeier<br />
Jeff Marshall & Shawn Finnegan<br />
Dorothy D. Kautzman<br />
Shirley Kircher<br />
Doris Kneuer<br />
Oliver and Gerda Nickels<br />
Webb Family Fund <strong>of</strong> <strong>the</strong><br />
Pikes Peak Community<br />
Foundation<br />
Susan Sherman<br />
Peggy Houston Shivers<br />
Dr. Susan R. Jensen and<br />
Mr. Tom Trainer<br />
Jeanna Wearing<br />
Phyllis V. White<br />
Harry and Louise Wilson<br />
Thomas G. Wilson<br />
Anonymous(1)<br />
Supporter:<br />
$100 to $249<br />
Larry and Eve Barrett<br />
Karen Bates<br />
William S. Becker<br />
Elizabeth Bockstahler<br />
Ann Brosh<br />
Mary Margaret Brummeler<br />
Judy and Duncan Burdick<br />
20<br />
Dr. and Mrs. Robert Carlton<br />
Eve Tilley Chavez<br />
Kathleen Fox Collins<br />
Thomas & Tania Cronin<br />
Judy and Chris Cunningham<br />
Paul and Janet Davidson<br />
Dr. and Mrs. Donald D.<br />
Dickenson<br />
Mary J. Eiber<br />
Judy Fair-Spaulding<br />
Joanna & Lindsay Fischer<br />
Donald and Barbara Gazibara<br />
Ka<strong>the</strong>rine George<br />
Dunning & Mary Idle<br />
Harriet J. Kidd<br />
Glenn & Helen Knight<br />
CW4 Mary Koepp<br />
Bonnie and Dave Linder<br />
Donald and Marie Logan<br />
Richard and Jean McChesney<br />
Patricia McGlothin &<br />
James Tillman<br />
Mary Elizabeth McKinley<br />
Dion F. Mercier<br />
Lynne Miller<br />
Fred and Mary Jean Nelson<br />
Denis and Beverley Pirio<br />
Betty Jane Rickel<br />
Charles Rittenberg<br />
Ralph and Miriam Schinnerer<br />
John F. Slattery<br />
Margaret Smith<br />
Joan Strating<br />
Robert Taylor<br />
Charles Guy Theriot<br />
Frederica Thrash<br />
James Tillman<br />
Mr. and Mrs Van Horn<br />
Charles & Judith Warren<br />
Don and Marylin Werschky<br />
Mary Wieger<br />
Jacqueline Williams<br />
Ms. Miwako Wilson<br />
Anonymous(2)
<strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong> Supporters, continued<br />
Friend:<br />
$1 to $99<br />
Tuck & Liz Aikin, Jr.<br />
Susanne Anselmi<br />
Barbara Arnest<br />
Ann Axelrod<br />
Dirk Baay<br />
Phyllis E. Baker<br />
Judith Benton<br />
Martha Booth<br />
Mr. and Mrs. Dwight S. Bro<strong>the</strong>rs<br />
Dale & Gundi Brunson<br />
Inga Champion<br />
Mary E. Claytor<br />
Inge Cordova<br />
Phyllis DeHart<br />
Diana DiMara<br />
Mr. Kor Elzenga<br />
John F. LeFevre<br />
Dorothy Farthing<br />
Carlton Gamers & Elaine Freed<br />
Timothy & Kalah Fuller<br />
Susanna and Fred Gnadinger<br />
Adam & Alicia Gold<br />
Carla and Jim Greenhalgh<br />
Judith Greist<br />
Sherry L. Hall<br />
Ingrid Hart<br />
Walter and Ann Hecox<br />
Karin Henriksen<br />
Carolyn & Ronald Henrikson<br />
Bill & Nancy Hochman<br />
Sylvia Hutson<br />
Donald & Gwendolyn Jenkins<br />
Ronald and Sandra Johnson<br />
W.R. Johnson<br />
Susan Johnson<br />
Gaylia Jones<br />
Marilyn Kastel<br />
Charles King<br />
Cherry and Jack Kinney<br />
Sharon La Mo<strong>the</strong><br />
John & Linda LeFevre<br />
Patricia Lipton<br />
Barbara Logan<br />
Scott and Susan Loring<br />
Dr. Suzanne MacAulay<br />
Kay G. MacEnulty<br />
Helmut & Joyce Maile<br />
Marianna Mc Jimsey<br />
21<br />
Linnea McDonald<br />
Mr. and Mrs. Michael McGrath<br />
J. Terry and Judith McIntire<br />
Jon & Becky Medved<br />
Carol and Jim Montgomery<br />
Kate Myers<br />
Jay Norman<br />
Wanda Oelrich<br />
Carol & John Patten<br />
Marie and Ron Pfister<br />
Patricia Plank<br />
John and Elaine Sartoris<br />
Lynda Ward Schedler<br />
Elizabeth and Mark Scott<br />
Colonel & Mrs. Charles Shay<br />
Murl Sickbert<br />
David and Barbara St. Andre<br />
Joyce and Steve Stivers<br />
William Tunstill<br />
Karen Wagner<br />
B. June Williams<br />
Nicholas Wilson<br />
Anonymous(1)<br />
The <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong> makes every attempt to list our donors accurately.<br />
If your name was inadvertently omitted or listed incorrectly, please accept our apologies,<br />
and contact us at (719)633-3649 or chamorch@gmail.com so that we can correct our records.<br />
Thank You!<br />
The members <strong>of</strong> <strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong> play “for <strong>the</strong> love <strong>of</strong> music” and for you, our audience. Our music is<br />
brought to you by <strong>the</strong> support <strong>of</strong> generous individuals, foundations and corporations who share <strong>the</strong> vision <strong>of</strong> <strong>the</strong><br />
<strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong> being a vital part <strong>of</strong> <strong>the</strong> artistic life <strong>of</strong> our community. We are very grateful<br />
for <strong>the</strong>ir contributions.<br />
The <strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong> welcomes corporate sponsorships for its programs and activities. Please contact<br />
<strong>the</strong> <strong>Chamber</strong> <strong>Orchestra</strong> at 633-3649, for information on sponsorships and benefits.<br />
Special Appreciation to...<br />
• First Christian Church and Broadmoor Community Church for <strong>the</strong> use <strong>of</strong> <strong>the</strong>ir wonderful sanctuary<br />
• Graner Music for distribution <strong>of</strong> sheet music • KCME-FM 88.7, A Voice for <strong>the</strong> Arts, for concert publicity<br />
• Ruth Hjelmstad for pr<strong>of</strong>essional accounting assistance<br />
• Grace Episcopal Church for use <strong>of</strong> <strong>the</strong>ir rehearsal space
No matter who you<br />
are or where you<br />
are on life’s<br />
journey, you are<br />
welcome here.<br />
Two Sunday Services<br />
9:00 and 11:00 a.m.<br />
4460 Barnes Road<br />
719.574.2001<br />
22<br />
Upcoming <strong>Concert</strong>s at BCC<br />
Sunday, November 18, 3:00 p.m.<br />
**Abendmusik:<br />
Folk Songs Across <strong>the</strong> Centuries<br />
Saturday, Sunday and Monday<br />
December 1, 2 & 3, 7:00 p.m.<br />
Bending Towards <strong>the</strong> Light…<br />
a Jazz Nativity<br />
Tickets: Call <strong>the</strong> FAC Box Office<br />
634-5583<br />
Also available at <strong>the</strong> door<br />
if not sold out<br />
**Indicates a free (freewill <strong>of</strong>fering) concert<br />
315 Lake Avenue • 473-1807<br />
www.broadmoorchurch.org<br />
Recital<br />
Hall and Cafe<br />
NOW<br />
OPEN<br />
Sou<strong>the</strong>rn ColoradoÕs Largest Full Line Music Store<br />
Band and <strong>Orchestra</strong> Instruments • Sheet Music • Private Lessons<br />
Instrument Repairs • Pianos and Keyboards<br />
PROUDLY SUPPORTING LIVE MUSIC IN COLORADO SPRINGS
<strong>Chamber</strong> <strong>Orchestra</strong> <strong>of</strong> <strong>the</strong> <strong>Springs</strong><br />
2012 - 2013 • 29 th Season<br />
The Season Continues<br />
February 2-3, 2013: Shall We Dance?<br />
Aaron Copland Three Latin American Sketches<br />
Samuel Barber Capricorn <strong>Concert</strong>o for Flute, Oboe,<br />
Trumpet & Strings<br />
Claude Debussy Danses sacrée et pr<strong>of</strong>ane (Sacred and Pr<strong>of</strong>ane Dances)<br />
Mat<strong>the</strong>w Tutsky, harp<br />
Ney Rosauro Marimba <strong>Concert</strong>o<br />
Carl Cook, marimba<br />
Igor Stravinsky Danses <strong>Concert</strong>antes<br />
February 23-24, 2013: <strong>For</strong>tunes<br />
Michael Daugherty Tell My <strong>For</strong>tune<br />
Ernst Bloch <strong>Concert</strong>o Grosso No. 2<br />
Hausmusik<br />
W.A. Mozart Symphony No. 36 in C Major, K.425 “Linz”<br />
April 27 - 28: Season Finale: The Promise <strong>of</strong> Spring<br />
Frédéric Chopin Piano <strong>Concert</strong>o No. 1 in in E Minor, op. 11<br />
Michael Cheung, piano; Amateur Pianists International Winner<br />
Gustav Mahler Blumine<br />
Jean Sibelius Symphony No. 3 in C, op. 52<br />
Hillside Gardens & Event Center<br />
• <strong>For</strong> Weddings and Special Events<br />
• 4 acres <strong>of</strong> gardens with<br />
fabulous mountain views<br />
• Large covered pavilion<br />
1006 South Institute Street<br />
Colorado <strong>Springs</strong>, CO 80903<br />
(719) 520-9463<br />
23
a CHRISTM S to<br />
Remember<br />
MADRIGAL BANQUET<br />
A Renaissance Christmas: In its 24th year, <strong>the</strong><br />
5-course banquet is served by costumed wait<br />
staff while <strong>the</strong> singers and dancers <strong>of</strong>fer a<br />
stage show that is a perennial<br />
Christmas delight.<br />
December 1, 7, 8, 13, 14,<br />
15, 20, 21, 22<br />
Tickets are $99 plus tax<br />
THE CHAMBER ORCHESTRA<br />
The Best <strong>of</strong> Christmas <strong>Concert</strong> includes soloists<br />
and <strong>the</strong> Children’s Chorale singing and<br />
playing all your Christmas favorites. Refined<br />
music in a great music hall with a<br />
15-foot Christmas tree.<br />
December 2: 4:30 and 7:00<br />
December 16: 4:30 and 7:00<br />
December 17: 7:00<br />
Tickets are $20<br />
ACOUSTIC EIDOLON<br />
A Christmas Carol Evening for all ages,<br />
played on a variety <strong>of</strong> acoustic instruments<br />
accompanied by <strong>the</strong> stories <strong>of</strong> how we came<br />
to love our favorite tunes and carols.<br />
December 18 and 19 at 7:00 PM<br />
Tickets are $20<br />
<strong>For</strong> reservations, call 719-265-7050, or for more<br />
information, visit www.gleneyrie.org/christmas<br />
24<br />
V