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Colorado Springs is home to 7,829 health care professionals, 682 police officers, 393 firefighters, and countless volunteers, counselors, emergency service providers, and other non-profit employees. These people – friends and neighbors – work tirelessly to improve the community while facing stressful, frightening, and tragic circumstances with strength and generosity.
The Colorado Springs Philharmonic honors these incredible contributions through Philharmonic Cares. This integral Philharmonic program provides professional caregivers and other non-profit employees the opportunity to relax, reconnect, and recharge through the healing power of music.
Underwritten by UCHealth, Philharmonic julietta in canada Cares gave more than 900 free concert tickets to local caregivers this past year. Staff and volunteers from 25 different agencies are invited free of charge to the concert hall, where they are frequently greeted from the stage by Philharmonic President and CEO Nathan Newbrough.
To become a Philharmonic Cares Partner Organization, ask your executive officer to complete a Partner Organization Agreement. Upon submission, all of your organization’s staff and volunteers will be invited to register for up to two complimentary tickets to each Philharmonic Cares concert.
It’s that easy! To request a Partner Organization Agreement, or if you have other questions, please either complete this form, contact Outreach & Education Coordinator Bernie Brink at firstname.lastname@example.org, or call our office at 719-344-2456.]]>
English professor Katharine Lee Bates penned America the Beautiful
During this monumental season, Philharmonic patrons are invited to experience world premiere performances inspired by America the Beautiful and written by these six contemporary American composers. Anthony DiLorenzo (Seattle) Anthony DiLorenzo is an Emmy Award winning composer and trumpeter. His music is performed throughout the world by symphony orchestras and chamber groups, including The San Francisco Symphony, The New World Symphony, The Louisiana Philharmonic, The Utah Symphony, The Tokyo Symphony, and The Boston Pops Orchestra. DiLorenzo’s piece, For Spacious Skies, will be performed September 17-18, 2016. Wang Jie (New York City) Wang Jie is a Schumann fellow at the Aspen Music Festival, as well as a McCracken Fellow at the NYU Graduate School of Arts and Sciences. Other honors include multiple ASCAP awards, citations from BMI, Opera America, American Music Center, the Pittsburgh New Music Ensemble, a Charles Ives Scholarship from the American Academy of Arts and Letters, a Koussevitzky Prize from the Library of Congress, and the Elaine Lebonbom Prize from Detroit Symphony Orchestra. Jie’s composition, Symphonic Overture “America, The Beautiful,” will premiere October 22-23, 2016. Courtney Bryan (New Orleans) Courtney Bryan is a pianist and composer with pieces ranging from solo works to large ensembles in the new music and jazz idioms, film scores, and collaborations with dancers, visual artists, writers, and actors. Bryan has been an instructor at Columbia University and Oberlin Conservatory, and is currently a Postdoctoral Research Associate in the Center for African American Studies at Princeton University. In the fall of 2016, Bryan will join the Newcomb Department of Music at Tulane University as an Assistant Professor of Music. Bryan’s piece, White Gleam of Our Bright Star, will be performed November 12-13, 2016. Daniel Kellogg (Boulder) Daniel Kellogg has had world premieres with the Philadelphia Orchestra, National Symphony Orchestra, San Diego Symphony, Kansas City Symphony, Colorado Symphony Orchestra, Ensemble Orchestral de Paris, Takács Quartet, and the Aspen Music Festival. Honors include a Charles Ives Fellowship from the American Academy of Arts and Letters, a Charles Ives Scholarship from the American Academy of Arts and Letters, six ASCAP Young Composer Awards, the BMI William Schuman Prize, and the ASCAP Rudolf Nissim Award. Kellogg’s work will be performed January 21-22, 2017. Ofer Ben-Amots (Colorado Springs) Ofer Ben-Amots is a local composer and Colorado College teacher of music composition and theory. His compositions are performed regularly by such orchestras as
the Munich Philharmonic, ORF – Austrian Radio Orchestra, Bruckner Orchestra, Zürich Philharmonic, Brooklyn Philharmonic, Moscow Camerata, Heidelberg, Eifurt, Brandenburg, the Filamonici di Sicili, the Concerto Soloists of Philadelphia, Milan Chamber Orchestra, and the Portland Chamber Orchestra. Ben-Amots’ piece, Enchanted Landscapes, will debut March 18-19, 2017. Pierre Jalbert (Houston) Pierre Jalbert is one of the most highly regarded American composers with many honors including the Rome Prize, the BBC Masterprize, the Chamber Music Society of Lincoln Center’s Stoeger Award, given biennially “in recognition of significant contributions to the chamber music repertory,” and a 2010 American Academy of Arts and Letters Award. Jalbert’s work will be performed May 20-21, 2017.
receives, how to play their instrument correctly, and read the music from the page.”
“My students have gained so much from this experience,” she continues. “Since Vanguard is a Title I school, a lot of them would never have the opportunity to even attend a Philharmonic Concert—let alone play along with one! They have learned not only the fundamentals of music, but how to be a part of something bigger than themselves.”
It’s proven that students involved in music programs have lower dropout rates, higher test scores, better problem-solving skills and more success as inventors and entrepreneurs. Due to teachers’ limited time and resources, the education programs offered by the Colorado Springs Philharmonic can make all the difference in the lives of students.
An advocate for music education, the Philharmonic is doing its part to ensure that music remains a top priority in our schools. But, we need your support to grow Philharmonic Kids and Carnegie Hall’s Link-Up program among at-risk students.
By the Numbers
Last season, 8,955 students took part in Philharmonic Kids concerts, of which 43% were from disadvantaged schools and admitted free of charge. We also provided more than 593 instruments and 2,577 workbooks to Title I schools at no cost. Additionally, volunteer docents spent 320 hours in classrooms aiding teachers with curriculum.
We can’t do it without the help of our generous donors to help fund this crucial learning program for the upcoming school year.
Won’t you give today? Click here.
Thank you for your generosity.]]>
Here’s what he told us about his all-time favorites from the classical repertoire. Click on the links to follow along with his listening notes!
In addition to these recommendations, he surprised us by admitting that Mahler 2 is one of his favorite symphonies — not because of the great percussion parts, but because of the parts where the percussion section shuts down entirely:
“Sometimes there’s nothing better than resting in the middle of all that stuff and being able to soak in everything else,” he explains. “[In] Mahler symphony no. 2, the fourth movement going into the fifth movement, there’s a mezzo soprano solo that’s just astonishing. To be involved in the third and then to be integrally involved in the fifth movement is fantastic, but to not be involved for a time, and to be separated from it but still inside of it… that’s when you love counting rests.”
By Claire Swinford]]>
Though he hails from New York, percussionist Mike Tetreault will readily tell you he found the Manhattan of his growing-up years “terrifying.” Not for him the symphony performances at Carnegie Hall — he preferred to spend his childhood years playing tennis, watching John Williams movies, and playing the drums. He’ll also be the first to acknowledge the irony of his aversion to America’s greatest city, given that it was a stint in Great Britain’s capital that set the course for his career.
As an exchange student at London’s Royal Academy of Music, unlike the Eastman School in Rochester, Mike had designated teachers for every aspect of his chosen discipline, from timpani specialists to marimba coaches to Latin percussion and drum set classes.
“It was the sort of constant specialized instruction that I just loved,” he says. “[It was] exactly what I needed to learn and exactly the time I needed to learn [it].”
Though he struggled at first with the different academic culture, London’s massive scope proved to be an enticement rather than a terror for 19-year-old Mike. He visited every historical site he could find, he watched the entire country “go cuckoo” during Wimbledon, and he jammed himself into the standing-room-only section for as many BBC Proms concerts as possible.
After his year abroad was finished, Mike made it his goal to get back to the UK as quickly as possible. Two years later, he matriculated for his master’s in percussion at the Royal Academy, and two years after that, he signed on for a post-graduate fellowship.
“I do not exaggerate when I say that if I didn’t have to leave, I wouldn’t have,” he says. “I was teaching, I was playing… I had a good career. I was making rent every month in London. That’s not easy for anybody, let alone a post-graduate student from the U.S.!”
In fact, one of the most memorable performances of his career eventuated out of that selfsame challenge — or, as he calls, it, “perhaps the most ridiculous gig I’ve ever had.”
He explains: “When I was in college, the Orchestra of Paris showed up to do this concert for the Proms and they were doing a piece by Luciano Berio called Stanze. In the trumpet part for one of the movements, they needed to play slide whistle. The trumpet players were like, ‘Nah, we don’t want to play slide whistle.’ Their timpanist at that time was a teacher at the Royal Academy, and he said, ‘Well, I have some students that could [do it].’
“We went down to the Royal Albert Hall for morning rehearsal, and we sat in the middle of the orchestra. They got to the part, and we went ‘bwoooop!’ and about twenty, forty bars later, we went ‘bweeoop.’ And this is BBC Proms live on TV, live on the radio — I think because of all the broadcasting things, and including rehearsal, I think I made over $4,000 for a total of five notes.”
“That kind of thing happens when you play percussion,” he reflects. “Sometimes you’re there an hour and a half early and you have to set up two marimbas and a xylophone and a drum set… and sometimes I go to work and I play five slide whistle notes and make my rent.”
Unfortunately for Mike, in the early 2000s Great Britain had a law that required international students to return home six months after graduation. Though he’d auditioned for several percussionist contracts across the UK, in 2005 Mike found himself reluctantly buying a plane ticket from Heathrow to Denver.
“The plan was just to come to Colorado and wait it out; see how it goes,” he says. “And that was ten years ago.”
Ten years later, does he still wish he’d been able to stay in the UK?
“I don’t have any regrets, necessarily, but it’s challenging to remember that you do this because of the thing, not because of the place. Because it sounds really sexy to be the principal percussionist for the London Philharmonic, but that doesn’t always happen.
“The thing I come back to, is, ‘Do I like music? Do I like what I’m doing?’ If not, I’ll do something else. And if I do, then, great! Do it really well, and let that be the enjoyment of it. Then I find that the circumstances don’t matter — I’m really satisfied with what I’m doing.”
By Claire Swinford]]>
head injury or a stroke, music is sometimes the difference between life or death. Celebrated neurologist Oliver Sacks wrote ofthe startling effect of music-making and classical music recordings on brain tissue surrounding the site of an injury, noting that patients who had access to music were much more likely to regain use of damaged tissue, and with it their powers of speech, motor control and memory. Those who did not would sometimes remain “locked in” for years. Similarly, emotional trauma can leave us feeling cut off from our powers of expression, communication and connection with others. Nowhere is this more prevalent than in professions where it is a sworn duty to care for others. Nurses, police officers and those who provide direct services to the disadvantaged face stressful, frightening and tragic circumstances every time they go to work, and it is their job to respond with strength and generosity of spirit. No wonder mental-health experts have identified compassion fatigue as one of the greatest contributors to burnout in caregiving fields. Who cares for the caregivers? In Colorado Springs, the orchestra provides one outlet for professional caregivers to relax and reconnect. Since September 2015, UCHealth has made it possible for the Colorado Springs Philharmonic to give away 706 complimentary concert tickets to local caregivers, including firefighters, animal shelter workers, counselors of at-risk youth, and more. Staffers and volunteers from 22 different agencies are invited to the concert hall via the Philharmonic Cares project, where they are frequently greeted from the stage by Philharmonic president and CEO Nathan Newbrough. “You care so much for our neighbors,” Newbrough said. “Now, let us treat you to a night out.” The response from beneficiary organizations has been staggering: to date, 1,474 caregivers have signed up for the opportunity to receive complimentary tickets throughout the concert season. Noreen Landis-Tyson, president and CEO of a charitable organization that provides early-childhood education and support for struggling families, explained what Philharmonic Cares means to her staff and volunteers: “Because [CPCD’s] mission is to serve the most vulnerable families in our community, our staff has a difficult time taking care of their own mental and emotional health, and sometimes find it almost impossible to leave their jobs at home. Additionally, many of our staff are single parents on limited incomes themselves, and would not be able to afford to purchase tickets for the Philharmonic. This program [is] very welcome to so many of our staff members, and it is a wonderful way to give back to people who give so much of themselves to our community.” Causes Supported by Philharmonic Cares Mentoring relationships for children facing adversity ● Volunteer advocates in court for abused and neglected children ● Meeting basic housing and health needs for local families ● Residential assistance, training and support for adults with developmental disabilities ● Colorado Springs Fire Department ● Early childhood education for children living in poverty ● Assistance for aging or learning-challenged adults ● Abuse prevention and support for at-risk families ● Shelter, adoption and medical services for homeless and abused animals ● Physical, emotional and spiritual support for life-limiting illness ● Senior advocacy and services to maintain independence, safety and quality of life ● Shelter and services for people experiencing homelessness, poverty and addiction ● Support and services for people with intellectual or developmental disabilities ● Emergency shelter, services and counseling for youth at risk of homelessness ● Family-based, grassroots mental health advocacy and support services ● Promoting healthy environments at skate parks through skills development and outreach ● Community living for abused teenagers who cannot return to their families ● El Paso County Sheriff’s Office ● Health promotion, disease prevention and environmental health programs ● Colorado Springs Police Department ● Global fair trade advocacy and sustainable business development in the Third World For more information on Philharmonic Cares, please visit csphilharmonic.org/cares. ]]>
expertise to stabilize the newly emerged Colorado Springs Philharmonic, while also leading the search for new organizational leadership. Street has continued to be an anchor for the organization by donating his time, resources and entrepreneurial skills to secure a strong future for the Philharmonic. In his spare time, Street plays clarinet and piano, while also making past contributions to the Philharmonic as executive producer in 2013 for “Jumpin’
Jazz Kids – A Swinging Jungle Tale,” a Grammy Award finalist for Best Children’s Album category. For more information about the 89th Birthday Cocktail Party including how to make reservations click here.]]>
community during the Philharmonic Business Consortium reception at 6 p.m. “A thriving community means more than just physical wellness. A vibrant performing arts and cultural scene is essential to creating true community wellness. This belief is shared by our partners at Penrose-St. Francis,” said Nathan Newbrough, Philharmonic president and CEO. “Thanks to the visionary leadership of Margaret Sabin and her capable team, Colorado Springs is a healthier, safer, and more beautiful place to live. We are grateful to Penrose-St. Francis Health Services and proud to recognize them as the Business Leadership Team of the Year.” Since 2013 the Philharmonic Business Consortium, formerly known as the Business
Partners Initiative, has honored business partners annually to include Wells Fargo, The Mining Exchange, and G.E. Johnson. The consortium is designed to inspire corporate and small business support of the Philharmonic with membership levels starting at $500 to include benefits such as marketing exposure, private receptions, VIP hospitality, concert recognition and more. For information on the Philharmonic Business Consortium,
In the minds of many classical music lovers, the composer is dead.
The composer, in the kindergarten part of our minds, fits a very specific archetype. He is European, he is male, he probably has weird hair, and his music has stood the test of time to become one of the great works of Western art. When we go to the concert hall to hear the composer’s music, we know we’re going to hear something that has resonated with audiences for generations. His music glows with layer after layer of interpretation and nuance on the part of musicians who love his work and know it, inside and out. They’ve had plenty of time to practice — the guy who wrote it has been dead for a hundred years.
The work of living composers? If we’ve had that experience at all, chances are we didn’t enjoy it. In fact, most professional orchestras report greater difficulty in introducing their audiences to contemporary music. When we’re accustomed to dead composers, the work of living composers can seem like something other than the classical music we know and love, and we approach it with hesitancy. In some cases, we may avoid new works altogether, since we feel we’ll likely find them strange and unpleasant.
But here’s the problem: If we view contemporary work as external to the great narrative of classical music, if we learn to dread that sense of uncertainty when we’re about to listen to a new work, if we look at contemporary composers as creative anachronists who, ultimately, can’t do anything that hasn’t already been done better by a resident of Vienna in the 1800s, then we exclude ourselves from a crucial part of classical music.
Let us say it again: When we listen to contemporary works, we’re inserting ourselves in the heart of the classical music experience.
Witnessing an orchestra in the process of interpreting a new work, unhampered by familiarity and centuries of interpretation, led by a conductor who is on fire with a sense of discovery, and perhaps even with the collaboration of the composer himself, is a thrilling spectacle.
Those dead composers we love so much? Their fans understood this. Schubert’s fans weren’t clamoring for Corelli’s greatest hits, and Mahler actually had trouble convincing his audience that listening to that old guy Mozart would be worth their time. No: they wanted to hear something that had been composed last week — that morning, even.
They knew that when they walked into the concert hall, they were entering unknown territory. They weren’t sure what crazy sounds and rhythms they were about to hear. And for them, that was the whole point: The tension of ambiguity, the energy of musicians exploring new material, and the thrill of discovery when it all cohered into a magnificent work of art that never existed before.
They didn’t care if it was “traditional” or pleasant to listen to. (Just think of The Rite of Spring — it broke all the rules, caused the audience to riot, and revolutionized a whole generation of composers.)
Instead, they looked at the facts; the same facts we encounter with contemporary music today: This work is being performed by an orchestra we know to be skilled, under the baton of a music director whom we credit with great sensitivity and taste. The craftsmanship of the performance is not in question. If we don’t enjoy it, it’s because we expect it to be the same as other classical music concerts.
That’s the secret: Our ability to enjoy a work of contemporary orchestral music has little, if nothing to do with the actual musical merit of the piece. It has everything to do with participating in the continued evolution of an art form we love dearly.
Conversely, to insist that contemporary composers can’t hack it compared to the greats of the Baroque, Classical, and Romantic periods is to participate in the decline of this art form. And when we impose the expectations and formulas of antique literature on the works of the present day, we make the composer a nonentity in the creative process of performance.
In that case, the composer really is dead. We’ve killed him.
But if an audience can “kill” a composer, it can also bring him back — in the concert hall, as in the Marvel Universe, death is optional. If we can let go of our beloved dead composers, just for an afternoon, the element of surprise in a living composer’s work can be a force for transformation. We may find that our understanding of orchestral music — past, present and future — has been illuminated.
“I always say, come to the concert without any expectation,” says Maestro Josep Caballé-Domenech. “Let yourself be surprised. Even if you don’t know the name, even if you don’t know the soloist, even if you don’t know many things, just go there, have the experience… because you will be probably surprised. That’s what I as an artist am interested in, is to surprise people with something that they don’t expect.”
Join composer Larry Alan Smith for the premiere of his Symphony No. 4, dedicated to and conducted by his friend Josep Caballé-Domenech, at Doctor Atomic on April 16-17 at the Pikes Peak Center. For tickets, call 520-SHOW or click here.]]>