Educational Outreach

Giving the Gift of Music is a multi-faceted program that reaches students in K-12, University of Wyoming and Laramie County Community College music students. It presents unique educational windows for students that can implement their understanding and appreciation of music, contributing to their quality of life and helping them become good citizens. Research shows that the arts stimulate learning, improve overall academic performance, teach discipline, promote teamwork, and help children develop problem-solving skills. The CSO has six areas in which the program provides opportunities for students to develop these virtues. It's a GAS! (Guest Artists in the Schools) It's a GAS brings the talents of the artists who are being contracted to perform with the Cheyenne Symphony to share their talents with the students of the Cheyenne area. January 2010 will feature Gareth Johnson, a guest violinist who will visit the Laramie County School District (LCSD) No. 1 and Laramie County Community College (LCCC) orchestra classrooms to share experiences, talents, culture and history with senior high and college orchestra students. It's COOL! (Conductor of the Orchestra Lectures) Dr. William Intriligator, music director and conductor for the Cheyenne Symphony, will visit LCSD No. 1 junior high and senior high school music and orchestra classes the week of a masterpiece concert. Along with these secondary schools, he will also make visits to choirs from the University of Wyoming and Laramie County Community College. These college-age students will collaborate with the Cheyenne Symphony Orchestra for the final masterpiece concert in April 2010, Symphony & Opera In-Concert. YES! (Youth Educational Symphony) The Cheyenne Symphony's annual educational concert brings the fifth and sixth grade students from Laramie County School District Nos. 1 & 2, parochial, private and home-schooled children to the Cheyenne Civic Center for two performances. Before the performance, the students will learn about instruments, music concepts, and the history of the composer and their music. This year's music selection will be Vivaldi’s Four Seasons, which will offer a variety of applicable teaching mate- rial. It's Music (Musical UP-and-coming Students in Competition) The Cheyenne Symphony hosts the winner of the WY-ASTA (Wyoming American String Teachers Association) at the YES! Concert for fifth and sixth grade students. The winner plays his or her competition concerto music in a performance of approximately 10 minutes. Based on past evaluations, this has been a highlight for the fifth and sixth grade students attending because the students can relate to the young winner. They see the result of practicing an instrument with discipline and see the goal as “within their reach.” Art in Music Students from three Cheyenne high schools, as well as area 8th and 9th grade students, are encouraged to demonstrate their artistic expression through the Art in Music program. Students will listen to the selected music, Vivaldi's Four Seasons, in their classrooms and draw, paint, and form clay pieces from their artistic impression of the music. These works of art are displayed for the Cheyenne community in the month of January at the Cheyenne Civic Center. Winners of several categories are awarded ribbons and prizes in the form of U.S. Savings Bonds furnished from a local bank. Prelude to Youth To encourage the attendance of young people at Cheyenne Symphony concerts, approximately 500 free tickets are distributed throughout the season to Cheyenne high school and Laramie County Community College students. Tickets to our regular concert nights are also offered to students of any age for a discounted price of $10 per ticket. 50 Sponsor Profile

Wyoming Hereford Ranch Sloan and Anna Marie Hales of the Wyoming Hereford Ranch are generous corporate sponsors of the Symphony. In addition to providing significant financial assistance, they graciously open their home for several annual Symphony events, including Hausmusik and Baroque in the Barn. The Wyoming Hereford Ranch was established in 1867 by Alexander Swan, a Scottish entrepreneur. Swan created a cattle empire consisting of one million acres of land with over one hundred thousand head of cattle. He and an associate, George Morgan, imported 146 Herefords from England in 1883 and changed the history of western cattle. Subsequent owners of the Wyoming Hereford Ranch continued the tradition of breeding and selling fine Hereford cattle. The WHR is the oldest, continuous registered livestock operation in the United States. In spite of inclement weather, sparse grazing and the vagaries Sloan and Anna Marie Hales, owners of the Wyoming Hereford Ranch. The Wyoming of the cattle market, WHR has not only survived, but has developed a Hereford Ranch, a long time sponsor of the worldwide reputation for excellence. Symphony and its education program, is a co-sponsor of the Art in Music program that is The Hales family is the seventh owner of the WHR and the first to presented to Cheyenne high school art reside on the premises. Their ownership of the ranch of over twenty students. years is only exceeded by Henry Cromwell, the founder of Quaker Oats during the mid-portion of the 20th century. The Hales also host over one hundred other community functions. They invite visitors to their home to envision the glories of yesteryear as well as the pride of the present and the promise of the future. Sloan and Anna Marie’s generosity and commitment to enhancing all of our lives has been recognized by several organizations. In 2002, the Hales were honored by the Wyoming Arts Council for their contribu- tion to the arts. They also have been honored by the Cheyenne Greater Chamber of Commerce as the “Citizens of the Year.” They truly exemplify Winston Churchill’s observation that “We make a living by what we earn, but we make a life by what we give.” McDonald’s Restaurants McDonald’s of Cheyenne, Laramie and Rawlins are proud to CSO Music Director and Conductor William Intriligator, and CSO Executive Director Chloe continue their support of the Cheyenne Symphony Orchestra as an Illoway stop by McDonald’s for lunch and for underwriter of the Art in Music program. Exposing students to the a visit with McDonald’s Restaurant owners music of the master, and helping them to express themselves through Suzanne and Jack Preiss. McDonald’s is a proud their artwork, is our goal. co-sponsor of the Art in Music program. A commitment of “giving back” to our communities has played a major role as business owners in Wyoming for 27 years. Helping develop young people in all aspects of life is an important part of our business environment. We applaud Laramie County School District No. 1 Art Program for continuing to raise the level of quality art that is produced and displayed.We can expect much of the same Symphonic Brilliance in the 2009-2010 season from our Music Director and Conductor, William Intriligator, and the Cheyenne Symphony Orchestra as we experienced in the last season. 51 Symphony Ball Cheyenne Symphony Orchestra presents the 2009 Symphony Ball Symphonic Brilliance

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Guest of Honor Maestro William Intriligator

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Kenneth & Myra Monfort Charitable Foundation Grant Support

Wyoming Arts Council The Cheyenne Symphony has been a proud recipient of grant support from the Wyoming Arts Council over a period of many years. The Symphony always rates very high in funds granted to Wyoming cultural arts organizations by the Council. This year the CSO will receive $6,330 for our concert season and $4,023 for our Arts in Education program “Giving the Gift of Music.” The Wyoming Arts Council is a state agency within the Department of State Parks and Cultural Resources. It was established in 1967 to provide a full spectrum of programs and services to Wyoming artists and arts organizations, and will celebrate its 43rd Anniversary in 2010. A ten-member board is appointed by the Governor to advise the Council in program planning and policy formulation, and to make grant funding decisions. The board meets four times a year in different locations around the state. The mission of the Wyoming Arts Council is to enhance the quality of life for the people of Wyoming by providing resources to sustain, promote and cultivate the arts. Funding from the Wyoming Legislature, the National Endowment for the Arts and numerous private sources enables the Council to provide assistance to more than 200 Wyoming non-profit organizations, schools, colleges and other arts entities, and to bring people together for statewide events such as the Biennial Arts Summit and the Governor’s Arts Awards. Council grants, which are matched with local funding, provide partial support for perfor- mances, exhibitions, readings, artist residencies in schools and other arts projects. Many different Laramie County organizations, schools and individuals benefit from Wyoming Arts Council grants and services each year. “Music was my refuge. I could crawl into the space between the notes and curl my back to loneliness.” ~Maya Angelou, from Gather Together in My Name

54 55 Season Concert January 23, 2010 Four Seasons Sponsored by Buford Trading Post First Interstate Bank Four Seasons Music Rental provided by Jennifer & Larry Wolfe, in honor of Fred Baggs, Sloan & Anna Marie Hales & Mark Russell Smith Cheyenne Symphony Orchestra presents William Intriligator, Music Director and Conductor Gareth Johnson, Violinist The River Edward Kennedy “Duke” Ellington (1899-1974) I. Spring II. Meander III. Giggling Rapids IV. Lake V. Riba Appalachian Spring: (Ballet for Martha) (1944) Aaron Copland (1900-1990) Intermission Le Quattro Staggioni, Op. 8 nos. 1-4 The Four Seasons (1723) Antonio Vivaldi (1678-1741) I. Concerto No. 1 in E major, RV 269, La Primavera (Spring) Allegro Largo Allegro (Pastorale dance) II. Concerto No. 2 in G minor, RV 315, L’Estate (Summer) Allegro non molto-Allegro Adagio-Presto-Adagio Presto (Summer Storm) III. Concerto No. 3 in F major, RV 293, L’Autunno (Autumn) Allegro (Peasant Dance and Song) Adagio molto (Sleeping Drunkards) Allegro (The Hunt) IV. Concerto No. 4 in F minor, RV 297, L’Inverno (Winter) Allegro non molto Largo Allegro Mr. Johnson, violin Guest Artist

Gareth Johnson Gareth Johnson has had amazing and exciting opportunities as a violinist! Audiences love him! Having heard the famed Itzhak Perlman, Johnson at the age of ten declared, “I can play that instrument!” His passion and persistence to master the violin has allowed him to be regarded as a rising star who brings a unique sense of energy, emotions and personal interpretations to his audiences. This December Mr. Johnson will be completing his Masters in Music degree at the Lynn Conservatory of Music in Boca Raton Florida where he studies with concert violinist Elmar Oliveiera. His talents have taken him throughout the United States, Europe, Asia and the Caribbean, not only rendering recitals and being presented as soloist with major orchestras, but capturing attention and admiration from celebrities such as Itzhak Perlman, Branford Marsalis, and, his most favorite of all, Oprah Winfrey. As a winner of the Sphinx Competition, designed to reveal the talents of African and Hispanic Americans, it was immediately evident that Mr. Johnson was the young man who would not only represent that organization well but who would best assist in achieving the goals of this organi- zation. As an articulate, enthusiastic, and creative presenter, he has helped students throughout America understand that with hard work, commitment and focus, they too can achieve their dreams. During his presentations most students are astonished at the fact that in addition to his talents as a classical violinist, he is a devoted composer, arranger and performer of New Age styles of music. One can just imagine students’ reactions when he displays his talents in this area as well—they describe him as “AWESOME!” Mr. Johnson is playing on an 1840 J.B. Vuillaume violin and is presently seeking donors/and or sponsors for this instrument.

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57 Program Notes

Suite from The River scales and harmonies. Meander is bookended by Edward Kennedy “Duke” Ellington (1899-1974) cadenza-like passages in the unaccompanied solo flute. The middle contains substantial orchestral Jazz is considered primarily a musical style sections in a variety of swinging tempos in big band defined by solo improvisers, and rightly so. But, it style, but with a “film noir” atmosphere of the would be a mistake to diminish the important rôle 1950s. Even if you think that you don’t like Be-Bop, played by composers in that tradition. If Louis it’s hard to resist the scampering fun of Giggling Armstrong is the apotheosis of the former, then Rapids, as a smooth, almost travelogue-like string surely Duke Ellington is the preëminent of the section flows along punctuated by big brass riffs and latter. Composer of perhaps two thousand songs, be-bop tunes. Meditative solos and a lush jazz suites, film scores, and later in life, even melancholy driven by Latin rhythms create the liturgical music, he used his long-touring big band Lake. Swinging basses “walk” the Riba right on as a vehicle for the development of some of the most through to the last fade out. Ellington trademark sophisticated jazz ever written. If there is one gift fills and riffs punch out through the cool string lines out of a plethora that should be singled out, it is his that prove orchestras can swing. Ellington was jazz’s acute sensitivity to the unique talents of the men most important composer and arranger—that we all who played for him. He skillfully exploited the know. But, as this sophisticated little suite variety of their individual tone colors and performing styles just as a master painter blends admirably shows, his genius was not restricted to disparate colors into an artistic whole. Unorthodox one style, one time, or one medium. His artistry creativity in scoring created the “Ellington sound.” grew like a “river,” and American music would have All one has to do is to think of his evergreen Mood been lamentably impoverished without his music Indigo, wherein he turns the traditional spaces near its core. occupied by clarinet, trumpet, trombone (top to Appalachian Spring: Ballet for Martha bottom, respectively) upside down. Mood Indigo Aaron Copland (1900-1990) would not be the same piece at all in our musical consciousness without the unique sound of muted Aaron Copland is generally considered America’s trumpet on top, trombone with “plumber’s friend” greatest composer. That is, it is he, through his mute in the middle, and the soft, very low clarinet compositions and through his essays, books, on the bottom. His ear for sound color was right up lectures, and other thoughts on music who has done there with Debussy, Stravinsky, and Ravel. more than any other individual to establish a corpus of “serious” music in this country that largely The River is a ballet suite composed on defined an “American” style. He lived a long life; commission by the American Ballet Theater for the influenced generations of young composers; important American choreographer, Alvin Ailey. It advanced the cause of art music in this country; and was composed in 1970, and shortly thereafter given composed music that delighted millions in the its première at Lincoln Center in New York City. Ellington described it as a metaphor in which the audiences of ballet, chamber music, symphonic progress of a river from its source in a spring, music, radio, television, and the movies. The son growing from a rivulet to a mighty river flowing into of Jewish immigrants, he lived for most of his life the sea, parallels human life. Like streams, we begin in New York City—or close by—but assimilated so life modestly, grow, change both our natures and much of the disparate elements of our culture that our directions, encounter diversions and obstacles, he came to be considered a representative of all of and slow our life’s pace as we join the great universe it. In his music one finds jazz, ethnic, western, folk, of the sea. The five movements played this evening intellectual, and populist elements and references— aptly illustrate not only episodes from this journey, and much more: Cuban, Mexican, and European but also are eloquent testimony to the complete Continental. But his wide-ranging intellect easily musician that was Ellington. His inimitable ear for synthesized it all into an inimitable style (or small tone color, rich and subtle harmony, and large-scale group of stylistic voices) with which his music spoke musical landscapes find fluent expression in these with a clear and unified expression. orchestral pictures for dancers. The first movement, His greatest musical influence was undoubtedly Spring, is largely given over to gentle wind solos the grande dame of teachers, Madame Nadia that seem almost improvisatory, with implied exotic Boulanger, with whom he studied in Paris during 58 Program Notes the early 1920s. Teacher of generations of which we now are familiar. He simply entitled the distinguished performers and composers, she work, Music for Martha. Dissatisfied with the counted Copland as her greatest pupil. Of course, original story, Graham completely reworked it into a while spending those years in Paris—along with the scenario (following the published score) that so-called “lost” generation (Copland was concerns a pioneer celebration: assuredly not part of it)—he was exposed to a wealth . . . in spring around a newly-built of musical styles and composers. Of them, farmhouse in the Pennsylvania hills in Stravinsky was the other great influence upon the early part of the last century. The Copland. Upon his return to the USA his early dal- bride-to-be and the young farmer- liances with jazz and “symphonic jazz” were more husband enact the emotions, joyful or less replaced by a severe, often dissonant style— and apprehensive, their new domestic one not often associated with Copland by many of partnership invites. An older neighbor today’s audiences, but definitely a life-long option suggests now and then the rocky confi- for him in his compositions. During the 1930s his dence of experience. A revivalist and his interest in socialist perspectives crystallized for him followers remind the new and he turned to a more accessible, populist style householders of the strange and terrible that has come to be his hallmark for mainstream aspects of human fate. At the end the America. His ballets, Billy the Kid, Rodeo, and couple are left quiet and strong in their Appalachian Spring, as well as his music for the new house. films, Of Mice and Men and Our Town and other Needless to say, Copland’s music was conceived works all endeared him to a wide audience and with none of this in mind, moreover, the title that made his reputation as a composer of “American” Graham chose originated in a Hart Crane poem music. He continued that trend with the Lincoln about a mountain rivulet. Copland was often Portrait, music for the film adaptation of Steinbeck’s amused later at plaudits accorded him for evoking Red Pony, and even wrote a clarinet concerto for the the “hope” inherent in simple people in the spring great Benny Goodman. How mainstream American season. Nevertheless, his angular melodies, spare can you get? But about 1950 both Copland’s musi- textures, and relatively simple harmonies were cal style and his popular place in society took a brilliantly exploited by Graham in her distinct turn. His earlier support of socialist causes appropriation of his music for her choreography. (he supported the American Communist Party in While much of Copland’s earlier work consciously the election of 1936) made him a target of Red had used folk melodies as part of his musical Hysteria and Senator McCarthy. The Republican resources, Appalachian Spring is based around Party cancelled a performance of his Lincoln Portrait original material that seems to evoke folk for Ike’s inauguration, and other indignities followed simplicities. The major, important exception is him for a few years. His music began—but not his use of the Shake dance tune, ‘Tis a Gift to be completely—to return to the severe and dissonant Simple,’ around which he builds a set of variations basis that informed his early work, and he that lead to the climax of the work. His rhythms occasionally disappointed those who commissioned echo the muscular, almost jerky, movements that— works thinking they were going to get another as every serious dancer knows—are characteristic of Appalachian Spring. By 1972, in his own words, it Graham’s choreographic style. Metrical shifts and was “as if someone had simply turned off a faucet,” constantly changing accents inform most of the and he gave up composition completely. He died in livelier sections. 1990 of Alzheimer’s disease. This little gem of a ballet has assumed a place In 1943, the great American dancer and of favored—almost iconic—status for American choreographer, Martha Graham, armed with $500 audiences. It, along with Fanfare for the Common from a prominent patron, approached Copland with Man, Lincoln Portrait, Rodeo (Beef—It’s What’s for the idea to write some music for her ballet company. Dinner!), and other brilliant compositions have all He had already garnered success with Billy the Kid, come to help inform our sense of who we are as and Rodeo—Copland was a lifelong aficionado of Americans. And, it is a comment upon the great, dance—and soon produced a half-hour or so of See Appalachian Spring • Page 62 music appropriate to a story quite unlike that with 59 Sponsor Profile

Buford Trading Post Buford Trading Post, owned by Don Sammons, is located just 26 miles west of Cheyenne, across from Vedauwoo State Park. Buford is the highest town between New York City and San Francisco on Interstate 80 and has endured for the past 144 years. Founded in 1866 as Fort Sanders, a military fort, soldiers were stationed there to protect travel- ers on the Overland Trail and the track-layers for the Union Pacific railroad. Buford was the county seat for Laramie County when it was still Ft. Sanders. The county seat was moved to Cheyenne in 1886. The Frontier Index, the local newspaper, was originally published there out of a boxcar. In 1880, when the U.S. Post Office opened, the town was renamed Buford. A noted guest was President U.S. Grant, CSO Executive Director Chloe Illoway and Don Sammons of Buford Trading Post visit with CSO who stopped there in 1869. It was also alleged that Butch Music Director and Conductor William Intriligator Cassidy robbed Buford. in his dressing room at the Cheyenne Civic Center. Due to a lightning strike on August 17, 2003, the Buford Trading Post was totally destroyed by fire. Arising from the ashes, the new facility has been completely reconstructed in the traditional log style. They now have pay-at-the-pump fuel available 24 hours, seven days a week. Keeping in line with Cheyenne pricing, diesel and two grades of gasoline plus E-85 are sold. Their clean and modern restrooms are also open 24 hours. The entire grounds are very well lit and under continual surveillance for your safety. When traveling between Cheyenne and Laramie on I-80, at anytime of the day or night, feel free to stop in for a rest, a restroom or a tank of gas. Buford Trading Post provides ample paved parking for cars, trucks, semis, and RVs. The convenience store has a diverse variety of beers, snacks and sodas, as well as various sundries such as ice, camping and auto supplies. They also have a jewelry and gift shop for all your souvenir needs. A little over two years ago, Don’s son Jonathan moved from Buford to Montana, making Buford, Wyoming the Nation’s Smallest Town with a population of one. Don invites you to stop in, gas up and enjoy the Buford of the 21st Century. The Buford Trading Post is proud to be a Corporate Sponsor of the Cheyenne Symphony Orchestra.

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60 Sponsor Profile

First Interstate Bank First Interstate is a regional community bank that only operates in Wyoming, Montana, and western South Dakota. We are healthy and strong and continue to serve our customers responsibly and honorably, as we always have. We offer a safe place for your money to grow and peace of mind, knowing that your deposits with us are FDIC insured. Here in our territory, we have not been as severely impacted by the current recession as other areas of the nation. However, our families and businesses are beginning to feel the effects of this economic crisis. There are no easy answers and we do not know how long economic recovery will take. But, here is what we do know. We know that investing in our communities is vital to ensuring a vibrant, successful future for all of us. In 2008, First Interstate Bank, Pictured at First Interstate’s conference table its directors and employees, the Foundation and the Scott family are (seated from left) CSO Board Member Bob Nelson, Personal Banking Manager and donated in excess of $4 million to many worthwhile organizations and CSO Board Member Sharon Catellier, VP causes in our communities in Wyoming, Montana and South Dakota. Private Banking Manager Madoka Grenvik, We know that a tough road lies ahead. But to us, the cup is more Advisory Board Member Pat Vialpando, (stand- ing from left) FIB President Matt Pope, CSO than half full, not half empty. As we look ahead to 2009, we are Executive Director Chloe Illoway, Advisory keeping our focus on all that is good and positive in our communi- Board Member Peter Illoway and VP Wealth ties. Because in the end, as neighbors in this place we call home, it’s Advisor Kyle Geffre. our strength and commitment to each other, our families, our local businesses, community and economic development that will see us through the challenges ahead. First Interstate Bank is proud to have the opportunity to support the Cheyenne Symphony Orchestra and all that it adds to our community.

61 Program Notes

Appalachian Spring • continued from Page 59 which corresponds to a respective concerto. From listening to so many orchestral compositions of the sprawling nature of our country that one of its most eloquent creators of that image was a gay, leftist, son nineteenth century that have a “program,” or story, of Russian Jewish immigrants from Brooklyn. that the music putatively illustrates or tells, audiences today have come to regard program music The Four Seasons, Op. 8 as practically the norm. But, for early audiences it Antonio Vivaldi (1678-1741) was quite the novelty—yes, the tradition went back to the Greeks, but it was a rather thin one. Antonio Vivaldi was the most important composer of the Italian Baroque period, although As one listens to each of the twelve movements appreciation of that fact was slow in coming till later of the four concertos, the “roadmap” is fairly clear. times. But, during his lifetime he was celebrated Each opens with a section for the complete all over Europe, and his compositions were highly orchestra (the ritornello), followed by a section for influential—most notably on J. S. Bach. He wrote solo violin, accompanied by the orchestra—or a few almost fifty operas, but is remembered now for members of them. The ritornello and solo sections his amazing fecundity in composing instrumental alternate—about three times—ending with a final works. He wrote about five hundred concertos ritornello. The solo sections vary in themes and (not as one unappreciative wag once said, “the same concerto five hundred times.”) While many of them textures, but the ritornelli generally cover the same feature wind instruments, the majority of them are material, so you can usually spot them when they for strings, and are practically an early eighteenth- return—although Vivaldi usually altered them a century compendium of almost every imaginative little each time. passage or technique that one could ask of them. It is marvelous how the composer is able to Vivaldi early on was ordained into the evoke the sounds, situations—even the priesthood, and his probable red hair gave him the temperatures!—of the various seasons, using only moniker, “the red priest.” He was a teacher on and imaginative string figurations, melodies, and off for most of his life at the Ospedale della Pietà tempos. He doesn’t need all the resources of the in Venice (you can still see the building, today, just modern orchestra at all. Taken from the down the quay from St. Mark’s Cathedral.) The accompanying sonnets, Vivaldi literally tells us to institution was basically a girl’s school for children expect birds and thunderstorms in first movement born to the Venetian nobility under awkward of Spring, the sleeping, faithful dog of the goat herd circumstances, shall we say? The school had very high musical standards, and the quality of its in the second, and nymphs and shepherds dancing student orchestras was legendary. Vivaldi, however, to bagpipes in the third movement. Summer brings was a great traveler, moving around Italy working us blazing sun and scorched pine trees in the first for various patrons, and taking up residencies here movement, and a summer storm with hailstones in and there in opera houses. His publications swept the other movements. Autumn brings us rustic Europe, and he was influential in establishing many peasants celebrating the harvest in the allegro, conventions of eighteenth-century musical sleeping off the effects of wine in the second composition. His 1725 publication, Il Cimento dell’ movement, and a vigorous hunt with dogs and Armenia e dell’invenzione, contained twelve horns (ending tragically for the quarry) in the last concertos, seven of which had descriptive titles, movement. Finally, Winter comes with shivering, including The Four Seasons. The others were The frosty snow, and chattering teeth. The second Hunt, Pleasure, and Storm at Sea. movement depicts contentment by the fire—not The Four Seasons consists of four concertos for worrying about the poor folks drenched outside by solo violin and string orchestra. Each concerto—in the rain. And the last movement brings slipping on typical Vivaldi fashion—consists of three icy paths and skittering across frozen waters. One movements, the tempos of which are always can literally feel the “cold wind blowing through the respectively fast, slow, and fast. Not only did he give each of them the title of a specific season, he is also house, despite locked and bolted doors.” the presumed author of the four sonnets, each of ©William E. Runyan 62 63 Season Concert February 27, 2010 Dvořák Cello Concerto

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Underwriting of Guest Artist provided by Kenneth & Myra Monfort Charitable Foundation Cheyenne Symphony Orchestra presents William Intriligator, Music Director and Conductor Zuill Bailey, Cellist

Finlandia, Op. 26 (1900) Jean Sibelius (1865-1957) Symphony No. 8 in B minor Unfinished (1822) Franz Schubert (1797-1828) I. Allegro moderato II. Andante con moto Intermission

Concerto for Violoncello in B minor, Op. 104 B. 191 (1895) Antonín Dvořák (1841-1904) I. Allegro II. Adagio, ma non troppo III. Finale: Allegro moderato–Andante–Allegro vivo Mr. Bailey, violoncello Guest Artist

Zuill Bailey Zuill Bailey is considered one of the pre-eminent cellists of his generation. His rare combination of compelling artistry, technical finesse, and engaging personality has secured his place as one of the most sought-after cellists today. Zuill Bailey is a member of the acclaimed Perlman-Schmidt-Bailey Trio, featuring pianist Navah Perlman and violinist Giora Schmidt. He performs regularly with pianist Awadagin Pratt in recitals and chamber music. Bailey and long time duo partner pianist Simone Dinnerstein, were awarded the Classical Recording Foundation Award for 2006 and 2007 for the recording of Beethoven’s complete works for Cello and Piano set for release in August 2009. Together they performed the complete Beethoven Sonatas for sold out audiences at the Metropolitan Museum of Art in New York and the National Gallery in Washington, D.C. Zuill Bailey is an exclusive recording artist with Telarc International. His “Russian Masterpieces,” CD featuring the works of Tchaikovsky and Shostakovich and performed with the San Francisco Ballet Orchestra has received widespread popular and critical acclaim. Telarc will release the two disc set of Beethoven’s complete works for Cello and Piano with Simone Dinnerstein in August 2009. Bailey’s recording of the Bach Suites for Solo Cello will be released in January 2010. Other recordings include a debut recital disc for Delos, Cello Quintets of Boccherini and Schubert with Janos Starker, Saint-Saëns’ Cello Concertos No. 1 and 2 “Live,” and the Korngold Cello Concerto with Kaspar Richter and the Bruckner Orchestra Linz for ASV. Zuill Bailey performs on a 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, Bailey is the Artistic Director of El Paso Pro Mu- sica and Professor of Cello at the University of Texas at El Paso.

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65 Program Notes Finlandia, Op. 26 were distinctly unhappy. Surging nationalism Jean Sibelius (1865-1957) manifested itself in variety of ways, including a The compositions of Jean Sibelius constitute patriotic melodrama given in 1899 in Helsinki, a case study in the capriciousness of musical ostensibly to raise money for a newspaper taste and the power of the artistic avant-garde. pension fund. Sibelius contributed Pigeonholed by many as primarily a Finnish incidental music to this enterprise, the last nationalist, whose dark, remote music was a tableau of which was entitled Suomi Herää shallow representative of Romanticism’s last (Finland Awakens). He reworked the piece gasp, Sibelius was nevertheless deemed the into a symphonic tone poem the next year, and champion of American and British conservative renamed it Finlandia. It opens with ominous musical tastes between the world wars. brass chords, moves on into a tumultuous faster Typical was Olin Downes, music critic of the section that seems to parallel a growing national Times, whose relentless public support of sense of strength, and ends triumphantly with a Sibelius bordered on sycophancy. Likewise, powerful chorale (heard earlier, in a soft aura of Koussevitsky, conductor of the Boston confidence). The chorale has entered the realm Symphony Orchestra, programmed a cycle of of popular church music under the title, Be Still Sibelius’s symphonies, and dogged the composer My Soul, but it stands alone as the most to finish the eighth—which he never did. But, affirmative statement of the confidence and in- those who favored the avant-garde of Stravinsky, dependence of the Finnish people. Schönberg, and company—and that included Symphony No. 8 in B Minor, D. 759 most of continental Europe and American intellectuals—were scathing in their contempt. (Unfinished) Franz Schubert (1797–1828) One respected and well-known critic entitled an essay about Sibelius, “The Worst Composer in The epitaph on Schubert’s tombstone reads: the World.” These controversies, and Sibelius’ “The art of music has entombed here a rich life-long struggle with alcoholism and depression treasure but even fairer hopes.” We all lament no doubt played a signal part in his composing the “loss” of treasure that we never possessed, nothing of significance from the nineteen none perhaps more than great art that we thirties until his death in 1957 at the age of 91. presume may have come to pass but not for lives But today Sibelius enjoys a respect, while not cut short in youth. We must remember that not approaching the heights of pre-World War II all composers can live long productive lives like times that seems to secure his reputation. While those enjoyed by Verdi and Strauss, for example. he was a prolific composer, and his symphonies Often those who die young are nevertheless enjoy frequent performance, none of his works privileged to accomplish much, and Schubert, achieved the popularity of Finlandia. Finland like Mozart, is exemplary. His short life was had for centuries languished under the rule of generally uneventful, and his personality still is Sweden, and then in the early nineteenth somewhat lacking in vivid details for us century fell under the control of Russia, today, but we do know that he lived and worked becoming by the end of the century a grand within a small circle of artists in various fields duchy of the Russian Empire. After tightening in Vienna. His was contemporaneous with control of Finland by Russia in 1898, the Finns Beethoven, but that master’s music exerted little 66 Program Notes influence upon Schubert; Haydn and Mozart have garnered the most prominence: The “Great were his models. C Major” symphony and our Unfinished, which Franz Schubert’s short life roughly coincided you will hear tonight. Many have claimed that with that of Beethoven’s—both passing away the latter really is “finished,” (owing to its within about a year of each other. But what a genius), and many others have actually finished difference there is between the life and music it (Fools rush in . . .) by composing the of these two giants of early romantic music! missing last two movements in Schubert’s style. Beethoven--world renowned with fiery Manifestly it is unfinished, but of such gripping temperament, and master of struggling to quality and beauty that it really doesn’t matter. Ironically, it did not meet the light of day hammer out profundities from modest ideas— (literally) until 1865, when it was retrieved, strode across the musical landscape of Europe as almost as an afterthought, from an obscure a conqueror. Schubert, on the other hand, lived personality’s desk drawer. Schubert never heard quietly within a circle of close friends, rarely any of his symphonies played by a professional capturing the public’s imagination, while turn- orchestra, and none of them were published in ing out an immeasurable wealth of melodies, his lifetime. Yet, here is an iconic work of early apparently with little effort. In his brief career Romanticism that lay undisturbed almost from Schubert composed orchestral music, dabbled in the time of its composition in 1822. In many opera, produced masterpieces of chamber respects it manifests most of the music, and created a significant body of technical characteristics (and I won’t bother you compositions for piano. But his glory, and the with those) of late Classical symphonies such as world’s musical treasure, lies in his Lieder those of late Haydn and Mozart, and perhaps (German songs). It is astounding that he early Beethoven. The essence of this great work composed over six hundred of them, and they is more elusive: its dark and reflective tone, its constitute the defining repertory within that stunning and novel combinations of subtle genre. No one else—not Schumann, Brahms, instrumental color, the characteristic and Wolf, Strauss, nor Mahler—come close to the striking harmonic language—and, of course, the defining mark of Schubert. Almost single Schubertian melodies. Technical points pale be- handedly he created the first masterpieces of side these qualities—the Unfinished opens a new German song, and so many, at that. They are atmospheric sound world of Romanticism that is constituted of marvelously imaginative piano palpable beyond analysis. accompaniments (which are really equal in Cello Concerto in B Minor, Op. 104 importance to the vocal part); innovative Antonín Dvořák (1841-1904) harmonies; poetic texts of high artist quality; and an unprecedented gift for an endless variety Completed in 1895, Dvořák’s cello concerto of exquisite melodies. And it is an understand- (actually his second for that instrument, but the ing and appreciation of the centrality of song first is an early work not nearly as popular as the in Schubert’s oeuvre that informs our encounter second) was the last concerto that he composed. with his instrumental music, including his The concerto was not one of his favorite genres, symphonies. notwithstanding his own ability as a public He wrote nine symphonies, but two of them See Cello Concerto • Page 70 67 Sponsor Profile

Downtown Development Authority The Cheyenne Symphony is pleased to have the Cheyenne Downtown Development Authority (DDA) as an avid supporter. The DDA’s mission is to enhance the physical and economic environment of downtown Cheyenne. Its mission is accomplished by developing and administering projects and programs in the areas of marketing and promotion, urban design, business development, capital improvements, downtown beautification and planning and management of development or improvement activities. The DDA is a quasi-governmental entity affiliated with the City of Cheyenne and is led by a volunteer Board of Directors comprised of downtown constituents and community leaders committed to the improvement and revitalization of downtown Cheyenne. Western Vista Federal Credit Union Western Vista was chartered in 1940 to serve employees of the Wyoming Telephone Company. While we continue to serve employees of the phone company, we now offer membership to all residents of the Cheyenne community. As supporters of the Cheyenne Symphony since 1998, Western Vista looks forward to the 55th anniversary of the symphony and another successful season in 2009/2010. This season is sure to provide our community with world class performances, displays of personal Enjoying the day outside Western excellence and music that brightens your day. Vista’s Sparks Road location are (from left) John Kelly, VP Lending, Western Vista is here to help you reach your personal financial goals, Marjorie Smith, VP Information with excellent rates, convenient locations and great people. We invite you Technology, Angela Aragon, VP Operations, CEO John T. Balser, to enjoy the benefits our members have come to know and expect. As a CSO Music Director & Conductor full service financial institution, we are able to help you with your William Intriligator, CSO financial needs big or small. NCUA insured. Executive Director Chloe Illoway, Yvonne McGee, AVP of Accounting WINhealth Partners and Michael Vuyk, VP of Marketing. At WINhealth Partners, we realize that quality of life extends beyond health care. That’s why we’re a proud sponsor of organizations such as the Cheyenne Symphony Orchestra, which strengthen the spirit of Wyoming communities. Since 1996, WINhealth Partners has earned the reputation for provid- ing health care with exceptional value, quality, and member satisfaction. We’ve created a unique health plan that encourages strong relationships between physicians, employers, patients, and WINhealth Partners. As a Wyoming-based non-profit health plan, we allow businesses to Pictured above in WINhealth’s offer employees affordable medical plans with benefits designed to fit conference room are (from left) their needs. In addition, we now offer individuals access to our network CSO Music Director & Conductor of providers through our Freedom benefit plans and to Medicare Dr. William Intriligator, CSO Executive Director Chloe Illoway, beneficiaries through our Medicare plans. former WINhealth CEO and current CSO Board President Beth For quality health care for Wyoming communities, turn to the trusted Wasson and former CSO Board source – WINhealth Partners. President Greg Dyekman. WINhealth and its employees believe that it is our responsibility to “give back” to the community. In that spirit we are deeply committed to the Cheyenne community and are honored to be a part of the Cheyenne Symphony Orchestra’s 2009/2010 Season.

68 Program Notes

69 Program Notes

Cello Concerto • continued from Page 67 others embraced an exuberant style that performer. The Violin Concerto in A Minor and emphasized exaggerated emotions, new forms, this cello concerto are concert favorites these asymmetries, and motivic fragmentation. Not so days, but the few other concertos—or concerto- for Brahms, Dvořák, and other musical like—compositions play a minor rôle in his conservatives. They stuck to modern oeuvre. This is somewhat surprising, considering reinterpretations of doing things the old- that Dvořák was a prolific composer who, much fashioned way, and in doing so, created more than most others, made significant marvelous works that stand equally the test of contributions to almost every musical genre. time with the works of the darlings of those who It would be a mistake to consign him posit, “Change is good.” primarily to the category of “nationalist” As most folks know, Dvořák spent most composers, an important conceptual tool in of the years from 1892 to 1895 in the United understanding the nature of nineteenth-century States, during which time several important European art music. To be sure, he clearly works were composed, including his New World thought of himself as a champion of Czech Symphony and the Cello Concerto in B Minor. music, and he incorporated significant Czech Notwithstanding the conditions of its creation, musical, literary, and historical elements into his there is nothing of the “new world” in this piece. works. His “Slavonic Dances and Rhapsodies,” It was composed for a friend, the important tone poems, operas, and songs—the list goes Czech cellist, Hanuš Wihan, who gave Dvořák on and on—all are heavily infused with Czech pointers during its final preparation. One will melodies, linguistic inflections and characteristic hear the traditional three movements of a rhythms, and national legends and stories. And concerto, including a long orchestral exposition it must be admitted, these essential elements of before the soloist enters. Of interest in the his artistic voice are near the core of his elegiac second movement is a quotation of a attractiveness to audiences worldwide—not just in his homeland. Yet, to focus inordinately on song by Dvořák that references his sister-in-law these elements would miss the mark in under- who was ill at the time, and soon passed away. standing the most important aspect of the na- He went on to insert the tune in the final ture of his music. movement, as well. In the last movement the tune is played by a solo violin. This marvelous In short, Dvořák was a clear adherent of the concerto well deserved its popularity and artistic thinking of those composers of the nineteenth century who saw a fecund reputation over the years, for it is a nigh perfect outlook for the tradition of Mozart, Haydn, and example of Dvořák’s ability to meld virtuosic Beethoven (and later, Mendelssohn) in the challenges to the soloist (and you will be well fundamental way of composing. That is, an able to spot them), his solid mastery of approach that emphasized classical forms and orchestral construction—like his champion, designs, integrated development of musical Brahms—and his innate melodic gifts. As one ideas, and in general, a restrained and balanced wag once said: [he seemed to just] “pull expression that placed strong emphasis on melodies out of his sleeve.” music as an abstract art. Wagner, Liszt, and ©William E. Runyan 70 Grant Support

National Endowment for the Arts—NEA Support Saves Jobs July 8, 2009, Washington, D.C. - Federal grants to 64 orchestras will preserve jobs in communities nationwide, thanks to orchestra awards totaling $2.6 million in American Recovery and Reinvestment Act funds, announced yesterday by the National Endowment for the Arts (NEA). The Cheyenne Symphony was honored to be named as one of the 64 orchestral recipients and will be receiving a $25,000 much needed grant to keep more of our musicians working during the upcoming season. Examples of how we will use these grant funds are presenting the orchestral version of Appalachian Spring which employs 59 musicians rather than the original version which uses only 31; presenting our full roster of string players rather than reduced numbers; and changing some of our original programming to employ more of our dedicated musicians. In all, 68 more musicians will be playing during the season than was in our original budget. Additionally we will be able to bring more of our guest artists into the school music programs. “America's orchestras fuel local economies, attract new business development, spark the imaginations of young people, and, through the power of music, unite individuals and cultures in times of challenge as well as celebration,” said League of American Orchestras President and CEO Jesse Rosen. “These stimulus funds will enable orchestras to continue making meaningful contributions to community cultural life while helping to stabilize their local economies.” The arts industry generates millions of jobs and is an essential contributor to the economic and cultural vitality of the United States. In response to the stimulus grant opportunity, more than 2,400 applications from arts organizations nationwide poured into the NEA seeking non-matching, one-time grants of $25,000 or $50,000 for projects that focus on job preservation. While the need for support far exceeds available federal resources, 631 arts organizations nationwide received NEA stimulus grants.

71 Season Concert April 24, 2010 Symphony & Opera In-Concert

Sponsored by Cheyenne Symphony Foundation Dyno Nobel, Inc. National Endowment of the Arts Union Pacific Railroad

Cheyenne Symphony Orchestra presents William Intriligator, Music Director and Conductor Amy Johnson, Soprano Marc Schreiner, Tenor

Also Featuring Cheyenne Chamber Singers, Jane Iverson, Conductor Cheyenne Capital Chorale, Dick Cuthbertson, Conductor All-City Children’s Chorus, Diane Hultgren, Conductor LCCC Cantorei Singers, Nancy Cornish, Conductor University of Wyoming Collegiate Chorale , Nicole Lamartine, Conductor University of Wyoming Singing Statesmen, Nicole Lamartine, Conductor Season Concert April 24, 2010 Symphony & Opera In-Concert

Carmen: Les voici la quadrille (1875) Georges Bizet (1838-1875) Carmen: Aragonaise, Intermezzo, and Séguedille Georges Bizet Nabucco: Chorus of the Hebrew Slaves (1842) Giuseppe Verdi (1813-1901) Il Trovatore: Anvil Chorus (1853) Giuseppe Verdi Selections from La bohème (1896) Giacomo Puccini (1858-1924) Che gelida manina Mi chiamano Mimi O suave fanciulla Ms. Johnson, soprano Mr. Schreiner, tenor intermission

Samson et Delilah: Danse Bacchanale (1877) Camille Saint-Saëns (1835-1921) Macbeth: Witches’ Chorus (1847) Giuseppe Verdi Tannhäuser: Pilgrim’s Chorus (1845) Richard Wagner (1813-1883) Selections from Tosca (1900) Giacomo Puccini E lucevan le stelle Vissi d’arte Ms. Johnson, soprano Mr. Schreiner, tenor Lohengrin: Prelude to Act 3 (1850) Richard Wagner Turandot: Nessun Dorma (1926, posth.) Giocomo Puccini Mr. Schreiner, tenor Aida: Grand March & Triumphal Chorus Giuseppe Verdi Program Notes

From its beginning, about 1600, opera is all French ones (Isn’t it almost always the French about the solo human voice dramatizing a very when it comes to color?), took full advantage of personal view of life’s universal existentialities. the expressive possibilities of new or improved However, from the beginning, composers have instruments to enhance the drama on the stage. understood, and have availed themselves of, the The bass clarinet, trombone, English horn, considerable dramatic possibilities of the chorus trumpets and horns with valves, string sections and of instrumental accompaniment. Early without violins, and a percussion section with composers of opera were inspired by classical everything from anvils to thundersheets—all Greek drama, and consciously modeled their appeared first in the opera pit before being efforts upon the fine balance between individual allowed on the august concert stage. actors and the active rôle taken by the chorus in Partnering with the new colorful orchestra, that great tradition of Western culture. Equally the world of religious music provided a choral true in opera is the early use of a judicious tradition that turned into the powerful dramatic choice of instruments whose individual tone secular resource of large groups of soldiers, colors and technical characteristics go far to help nuns, sailors, slaves, villagers (both happy and set mood and tone specific to dramatic incensed), patriots and traitors, and all manner situations. of folk. Together, these two powerful musical The first great opera, L’Orfeo (1607) by resources combined with the long tradition of Claudio Monteverdi, uses a large orchestra sophisticated solo singing to create the opera of harpsichords, organs, stringed instruments that we all love. Tonight’s concert with some of (bowed and plucked), various woodwind the “plums” of that tradition reminds us of the instruments, trumpets, and trombones. They dramatic riches created by the juxtaposition of certainly don’t all play together, Monteverdi soloists, chorus, and orchestra. choosing each as appropriate to the scene—for “Les voici la quadrille” from Carmen example, the somber trombones accompany Georges Bizet Orfeo to the “infernal shades,” and Georges Bizet’s Carmen is at least partial recorders grace the pastoral scenes. There are evidence for the old observation that the French strictly instrumental sections, and frequent use have written some of the best Spanish-flavored of the chorus (nymphs, shepherds, infernal music. A composer of stunning talent, Bizet spirits, and Bacchantes) in the traditional Greek tragically died at the early age of only thirty- fashion to comment upon the dramatic situation seven, three months after the première of his or action, or even to advance the latter. While signature work. In the opera, set in Seville, the focus on solo singing of eighteenth-century Escamillo the bullfighter competes with the opera diminished the use of these two important soldier, Don José, for the love of the fiery forces, the needs of Romantic drama brought Carmen, a cigarette maker (and smoker!) them back with a vengeance in the nineteenth Carmen is amusing herself in a dangerous century. game, playing the two arrogant and vainful men The wonderfully expressive symphony against each other, in a constant atmosphere of orchestra of the nineteenth century finds its possible violence. Act IV of the opera, which origins in the opera pit. Composers, especially ends in Don José’s murder of Carmen, begins 74 Program Notes innocuously enough with the colorful entry of Anvil Chorus from Il Trovatore Escamillo and his retinue into the town square, Guiseppe Verdi on their way to the bullring. The townspeople The “Anvil Chorus,” which opens Act II, is hail his arrival with the chorus, "Les voici! Voici sung by gypsies in fifteenth-century Spain. In la quadrille." it, Azucena, an old gypsy whose mother was Aragonaise, Intermezzo, and burned at the stake for hexing Count di Luna’s Séguedille from Carmen Suite No. 1 little brother, reveals that in vengeance she had in turn stolen the child. She had intended to Georges Bizet burn the child, but instead incinerated her own Early critics of the opera deemed the score child. Don’t ask. She then raised the stolen noble “unplayable,” while others complained that the child as her own, who, of course, is Il Trovatore orchestra dominated the singers. Now, of course, (the troubadour). But, things being confused, everyone appreciates Bizet’s colorful, but they both now face—what else?—burning at the relatively light, orchestration, and his real ear for stake. To open this dark (and fiery) scene, the tonal color that well suits the opera’s Spanish Gypsies sing: “Vedi le fosche notturne” (See! The setting. Even the master of orchestration endless sky casts off her somber nightly garb…) himself, Richard Strauss, recommended Selections from La bohème students of the subject to Carmen, not Wagner. Giacomo Puccini The “Aragonaise,” the “Entr’acte” to Act IV, “Che gelida manina” features exotic percussion and vigorous dance “Si, mi chiamano Mimì” rhythms. The “Intermezzo” is the “Entr’acte” to “O suave fanciulla” Act III, is a delicate solo for flute and harp. The Rodolfo, a poor poet in squalid quarters, “Séguedille” is from Act I, where Carmen, jailed responds to a knock on the door, only to find for slashing a co-worker’s face, tries to seduce her Mimì, an equally poor seamstress who lives in captor, Don José, and effect her escape. the same building. Her candle has blown out, he Chorus of the Hebrew Slaves from lights it; she returns, having “lost” her key. With both their candles conveniently extinguished Nabucco (he devilishly has hidden the key), he finds her Giuseppe Verdi hand. In that magic moment, he begins This, of course, is the famous, “Va pensiero, passionately to tell her about himself: “Che sull’ali dorate” (Fly, thought, on golden wings; gelida manina” (Your little hand is cold.) She Fly and settle on the slopes and hills). The responds, “Si, mi chiamano Mimì,” (Yes, they Israelites are captives of Nebuchadnezzar in call me Mimì) and shares a bit about her quiet, Babylon, and sing this doleful lament of their gentle life. Love comes quickly in these circum- plight in the third act of this relatively early stances, and they leave together, singing of their opera of Verdi. This chorus during the 168 years newly found mutual love: “O suave fanciulla,” (O gentle maiden.) since its première has come to be a symbol of oppressed and enslaved peoples everywhere. See Danse Bacchanale • Page 78 75 Sponsor Profile

Dyno Nobel, Inc. Pictured at the Dyno Nobel plant Dyno Nobel, Inc. continues the are (from left) CSO Executive tradition of providing quality nitrogen Director Chloe products throughout Wyoming and the Illoway, CSO Board Past President Western United States from their Greg Dyekman, manufacturing facility in Cheyenne. Dyno Nobel Plant Manager Douglas Their products are used for both Chandler and CSO Board Member Bob industrial and agricultural customers in Nelson. these areas. They also produce liquid carbon dioxide for the food processing and oil industries. Dyno Nobel is a progressive company providing local goods and service purchases and an improved business climate for Cheyenne and Wyoming. Dyno Nobel and the plant’s predecessors have been CSO sponsors since 1991.

76 Guest Artist

Amy Johnson, Soprano One of America’s finest singing actresses, soprano Amy Johnson continues to expand her activities beyond the scope of her acclaimed stage and concert career. As a performer, she exhibits a unique combination of versatility, stage magnetism and striking physical beauty, able to portray youth yet having ample vocal brilliance and power to soar over the largest orchestra. The aforementioned versatility can be affirmed by a glance at her extraordinary repertoire­­­, which she has performed throughout the world. Ms. Johnson first received international recognition when composer Thea Musgrave personally chose her to create the role of Manuela in the world premiere of Simón Bolívar for Virginia Opera. Ms. Johnson also sang the world premiere of Ms. Musgrave’s Three Women with the Women’s Philharmonic of San Francisco. Ms. Johnson made her Carnegie Hall debut in 2006 singing the Beethoven Symphony No. 9 in a benefit for the South Asia earthquake victims. Other orchestral engagements include the Kentucky Symphony, with Ms. Johnson performing not only complete operas and operatic excerpts but also challenging concert repertoire, most notably the Four Last Songs of Richard Strauss. In operatic, concert and recital appearances, Ms. Johnson has been fortunate to collaborate with many of the world’s finest conductors, directors and accompanists. Ever expanding her artistic and vocal horizons, Ms. Johnson (in collaboration with Impresario Productions and Video Ideas Productions) recently created a new, cutting-edge and experimental idea—Twisted Sisters. In a fully staged evening of operatic “mad scenes” performed with orchestra, incorporating interactive projected film images, the artist again exhibits her singular versatility in excerpts from Lucia di Lammermoor, Mefistofele and Salome. Her recent achievements away from the stage are natural outgrowths of her profile as a singer. Ms. Johnson is co-principal of Impresario Productions, LLC and was recently appointed Visiting Assistant Professor of Voice at The University of Massachusetts in Amherst. Ms. Johnson was born in Chariton, Iowa and later moved to Elgin, Illinois. She is a graduate of Grinnell College and holds a Masters degree from Manhattan School of Music. She is a past winner of the Bel Canto National competition, and Baltimore Opera Competition, and a regional finalist in the Metropolitan Opera National Council Auditions.

Marc Schreiner, Tenor Marc Schreiner, possessing a voice of unusual color and range, and a command- ing athletic stage presence, has emerged as one of the most exciting lyric tenors of his generation. A devoted student of modern works, he has been seen as Peter Quint in Britten’s Turn of The Screw with Nashville Opera, where he received the following rave: “As sung by Marc Schreiner, a handsome Texas Tenor, Quint is about six-and-a-half feet of lithe phallic force, serpentine in the women’s dreams.” --The Tennessean. In addition, he has covered Peter Quint for Minnesota opera. Mr. Schreiner has enjoyed working with innovative directors, and, in addition to modern Operas, has performed with Houston’s EZCredit Theater in several productions which marry Opera, Modern Dance, and Electronic Music. Marc Schreiner has had notable success in standard repertoire and his oratorio repertoire includes Handel’s Messiah, and Haydn’s The Creation, both performed with the Austin Symphony, and The K.P.E. Bach Magnificat, and numerous Bach Cantatas. His concert appearances have also included frequent dates with well-known world music ensemble, “The Gypsies,” singing the tangos of Carlos Gardel. A native of Rollingstone, Minnesota, Mr. Schreiner received a Bachelor’s Degree in Music Education from Simpson College, and a Masters in Vocal performance from the University of Houston, Texas. 77 Program Notes

Danse Bacchanale • Continued from Page 75 Pilgrim’s Chorus from Tannhäuser Danse Bacchanale from Samson et Richard Wagner Delilah Before composing his magnum opus, “The Camille Saint-Saëns Ring,” Wagner composed several operas that Saint-Saëns worked on this opera for about were somewhat derivative of other successful ten years before its opening in Weimar, styles. Tannhäuser (1845) is about the redeeming Germany in 1877. The pious French authorities qualities of love—a recurring theme throughout would not permit a story from the Bible on the Wagner’s work—and recounts the story of the operatic stage—nor would the English censors mediæval Minnesinger (a noble poet/composer), until 1909. The Bacchanale occurs at the very Tannhäuser. He has shamed himself in his self- end of the opera, after all the events of the indulgence with sensual love at the court of familiar story of Samson that we know from Venus and her comely retinue. Soon thereafter, the Book of Judges has transpired. Blind and in a song contest in which he, to the scandal of shackled, Samson awaits his fate, as the priests the other contestants and judges, celebrates his and priestesses of the Philistine pagan god dance salacious—rather than their sacred— their wild and uninhibited song of victory. Well, definition of love, he is banished. He must make their victory is short lived, for we all know what a pilgrimage to Rome to seek absolution for his Samson does at the end. sins. Off he goes, but in Rome the Pope dashes “Che faceste? Dite su.” from his hopes, and with a band of pilgrims returns to Macbeth his homeland in Thuringia. It’s a glorious Guiseppe Verdi moment in opera as the pilgrims express their The Italians and the French adored bliss upon returning from their long and Shakespeare during the nineteenth century, and arduous mission—“Once more with joy O my Verdi wrote several operas based upon his plays, homeland I behold . . . “ beginning with Macbeth in 1847. The opera, Selections from Tosca while originally popular, fell out of the Giacomo Puccini repertoire, and not until 1941 did it receive its “E lucevan le stella” American première. This chorus occurs at the beginning of the opera, where the three “weird In the last act Mario Cavaradossi, lover of sisters” confront Macbeth and Banquo, and Tosca awaits dawn and his execution. Perhaps make their unsettling prophecy. Shakespeare sets the most poignant clarinet solo in opera opens the mood by prefacing that encounter with a lot the aria as Mario sings: “E lucevan le stella” of dark, nonsensical blather for the witches. (And the stars were shining). He remembers the Verdi here substitutes a chorus of witches night that Tosca first fell into his arms in the singing in three “covens” for the original three garden, and then despairs of his love lost forever. witches. The music makes clear that, in the He passionately declares his love of life, ending opera, at least, the witches are not so much in tears. malevolent, as they are just a bunch of See Tosca • Page 82 mischievous gossips out for trouble. 78 79 80

Program Notes

Tosca • Continued from Page 78 “Nessun dorma” from Turando Giacomo Puccini “Vissi d’arte” In the last act, Calaf, wooing the cold and Tosca is blackmailed by the evil, lascivious heartless Princess Turandot, meditates over the chief of police, Scarpia, who seeks the location implications of his agreement with her: She of a political prisoner. He sends her lover, must guess his name by dawn or she must— Mario, to be tortured for the divulgence of the much against her will—marry him. If she location, but will relent if she will totally yield to succeeds, he will be beheaded. She puts all her his wicked carnal desires. Tosca, bitterly subjects to the task of searching all night with- conflicted, considers her dilemma. She has lived out sleep until they discover his name—if they innocently for art and for love, never harming fail, they will be executed. Either way, tragic anyone. Why has God put her in this situation? death awaits. And so the aria begins: “Nessun “Vissi d’arte, vissi d’amore, (I lived for art, I dorma! O Principessa, nella tua fredda stanza . lived for love). . . (None will sleep! Even you, O Princess, in your cold bedroom . . . .” Prelude to Act 3 of Lohengrin Grand March from Aïda Richard Wagner Guiseppi Verdi Lohengrin was first performed in 1850, and In 1869, the celebration of the completion certainly is a Romantic opera in the strictest of the Suez Canal (1871) was anticipated with sense. It is based upon the legendary romance the opening of a new opera house in Cairo. th of the 13 century of Lohengrin, a knight of Verdi’s Rigoletto opened the house, but he soon the Holy Grail, who is sent in a boat pulled by composed a more suitable grand opera. The swans to rescue the maiden, Elsa, who must term Grand opéra doesn’t simply mean a “big never ask his name. The young King Ludwig II operatic spectacle,” although that helps. It of Bavaria was so moved by Wagner’s opera that means a large cast of principals, four or five acts, he more or less bankrupted his country in order spectacular staging, big choruses, ballet (essen- to build the famous castle, “Neuschwanstein” tial—it’s French, after all), an historical subject, (new swan stone), that is so beloved by today’s and challenging musical parts. Verdi met the tourists to Southern Germany. The “Mad” King demands of the occasion brilliantly, for Aïda has later bankrolled Wagner for all the latter’s big all of that. It’s an Egyptian love story between ambitions, before his own mysterious death in Rhadames, commander-in-chief of the Egyptian 1886. The most famous orchestral excerpt from army, and Aïda, daughter of the Ethiopian King. the opera is certainly the “Bridal Chorus” from The Grand March occurs in the second act, as the opening of Act III, where Elsa and the “un- Rhadames, victorious over the Ethiopian army, named” knight, Lohengrin, settle down in the returns in triumph with his army, Ethiopian bridal chamber after their marriage—we uni- captives, and as many live animals and trum- versally recognize this chorus as “Here Comes pets as every opera house can afford. It’s simply the Bride.” The exciting prelude to this scene is Verdi at his grandest, and a glorious way to end almost equally well known, and its brilliance has our season. kept it fresh despite innumerable performances. ©William E. Runyan 82 Community Choral Group

Cheyenne Chamber Singers The Cheyenne Chamber Singers (CCS) was founded by its conductor and artistic director, Dr. Jane M. Iverson in 1991. It is an auditioned group of professional singers and gifted amateurs with a part-time staff. CCS often collaborates with other groups and is a frequent guest artist in Cheyenne Symphony Orchestra concerts with whom they have performed such works as Handel’s Messiah, the Debussy Nocturnes, Vaughan Williams’ Serenade to Music and Fantasia on Christmas Carols, portions of the Bach Christmas Oratorio, Schubert Songs for Men, the Verdi Requiem, the Brahms Requiem, Beethoven’s Ninth Symphony, and the Mozart Requiem. The Cheyenne Chamber Singers have also performed with other community choirs in the region, as well as with the University of Wyoming. CCS makes outreach concerts to regional communities a priority and has made an unusual and important commitment to promote and perform new choral works by commissioning new works from contemporary choral composers such as Ben Allaway, Bob Chilcott, James McCray, Dale Warland, and Donald Fraser. CCS has currently commissioned the popular composer, Z. Randall Stroope, to compose a work for their nineteenth season. From its inception, the Cheyenne Chamber Singers have been committed to service and excellence.

“There’s music in the sighing of a reed; There’s music in the gushing of a rill; There’s music in all things, if men had ears: Their earth is but an echo of the spheres.” ~Lord Byron

83 84 85 Community Choral Directors

Dr. Jane M. Iverson is the founder and artistic director of the Cheyenne Chamber Singers. A native of Minnesota, she completed her undergraduate studies at St. Olaf College, earned her M.M. from Minnesota State University at Mankato, and her D.A. from the University of Northern Colorado. She was the Coordinator of Music at Laramie County Community College for nine years. During that time, she received a Teaching Ex- cellence Award for the Arts and Humanities Division three times. In 2004, she received the Wyoming Governor’s Arts Award for her outstanding contributions to the arts in Wyoming. In 2008, she was the recipient of the St. Olaf College Alumni Achievement Award. Currently, Dr. Iverson conducts the Cheyenne Chamber Singers and serves as the adult choir director for Ascension Lutheran Church and is active as a guest conductor and clinician in the Rocky Mountain region. Jane is a past president of Wyoming American Choral Directors Association (ACDA) and currently serves as the state ACDA Repertoire and Standards Chair for Church Choirs. Sean Ambrose has been singing with the Cheyenne Chamber Singers as a member of the bass section for twelve years, and has served as assistant conductor for the past nine years. He is the Music Coordinator for the Cheyenne, Wyoming public schools. Sean is an active conductor and clinician for both instrumental and vocal ensembles; he has recently conducted honor bands in Casper Wyoming, Spearfish South Dakota, and the Denver, Colorado area. In 2006, Sean became the director of the Cheyenne Community Band, which performs for summer evening audiences at the amphitheater in Lions Park. He is also the ringleader of a sixteen-member trombone ensemble that performs frequently in the Cheyenne area. A native of Cheyenne, Sean received his Bachelors in Music Education and his Masters Degree in Educational Administration from the University of Wyoming. In May 2007, Sean was recognized by the University of Wyoming College of Arts and Sciences as an Outstanding Alumnus. Dick Cuthbertson is in his 12th year as leader of the Capital Chorale. He is a graduate of the University of Wyoming with a degree in Music Education and taught in the Douglas, Wyoming public school system. He has directed community and church choirs in Laramie, Douglas, and Cheyenne, and is the current choir director of St. Christopher’s Episcopal Church. Actively involved in community theater, he appeared in lead roles in several musicals, including Bye Bye Birdie, Camelot, No No Nanette, The Sound of Music, and Fiddler on the Roof. He loves the opportunity to continue on with music and conducting and to share the enjoyment of fine music with the Chorale members and the audience. Dick is currently vice-president of Members Trust Company, FSB, with an office at Warren Federal Credit Union. Diane Hultgren is currently celebrating her sixteenth season as the Artistic Director of All-City Children’s Chorus and is enjoying the opportunity to work with the young, talented singers of All-City Children’s Chorus. Ms. Hultgren taught elementary music for twenty-six years, five years in Washington state and twenty-one years for Laramie County School District #1. She has music/curriculum degrees from Bethany College (KS) and Lesley College (MA), Orff levels certifications from the University of Wyoming and University of Memphis. She has also furthered her conducting studies with Henry Leck (Butler University – Creating Artistry) and Rodney Eichenberger (Florida State). Diane continues her interest in all things educational, including her work with children and learning styles and her abiding interest in the impact of politics on educational reform. Ms. Hultgren remains active as a member of the Wyoming American Choral Directors Association (President 2004), a member of the Wyoming Music Educators Association and the Wyoming Chapter of the American Orff-Schulwerk Association. She also is active as a choral clinician/conductor in Wyoming and the Rocky Mountain Region. 86 Community Choral Group

Cheyenne Capital Chorale Now in its 58th season, the Cheyenne Capital Chorale has been providing a varied musical program for audiences and a performing platform for its members. The non-audition group is comprised of about 60 adult singers from all walks of life and from all corners of musical expertise. The director, Dick Cuthbertson, is in his 12th year as maestro. The keyboard accompanist is Jeanne Howard. The wide range of music performed is evidenced by last year's concerts which included the Messa di Gloria by Puccini, the Messiah, a Christmas concert, and a 50's Rock 'n Roll concert, com- plete with a 1957 Chevrolet Bel Air convertible. The purpose of the Cheyenne Capital Chorale is to provide the opportunity for singers of all skill levels to perform and enjoy music of all types, and for Cheyenne audi- ences to enjoy live choral music. For the past 40 years, the Chorale has rehearsed Tuesdays at 7 p.m. in the Carey Junior High School music room. 87 Community Choral Group

All-City Children’s Chorus All-City Children’s Chorus is a community/ school district non-profit organization dedicated to providing high quality choral instruction and performance opportunities for children grades 4-8. The mission of ACCC is to provide quality music instruction with the goal of attaining the highest level of artistic excellence in choral music performance. The purpose of this choral organization is: to provide an opportunity for the children of Laramie County to participate in a challenging musical group that enhances and supplements music instruction offered in the school; to provide enrichment for students gifted in music; to foster and encourage appreciation of music and the teaching of music, the history of music and musical skills: and to provide an opportunity for the citizens of Laramie County to hear excellent children’s choral music in the form of concerts and recitals. All-City Children’s Chorus is proud to have been an active participant in Cheyenne’s musical community for thirty-four years. The past years have seen many honors come to All-City Children’s Chorus. Notable honors include being named a 2004 Governor’s Arts Award winner, being a featured children’s chorus for two Northwest American Choral Directors Association conventions (ACCC has received an invitation to perform once again at this convention in 2010), being a featured children’s chorus for a national convention for the American Orff Schulwerk Association, and being selected as a solo performer for the National Children’s Choir Festival at Carnegie Hall. Singers in All- City Children’s Chorus have also had opportunities to perform with nationally known composers and conductors, including, Henry Leck, Rodney Eichenberger, Judith Herrington, Barbara Tagg, Jean Ashworth Bartle, Rebecca Rottsolk, Jim Papoulis, Rollo Dilworth and the Cheyenne Symphony Orchestra with William Intriligator and the previous maestro, Stephen Alltop. ACCC has an active performance schedule with opportunities to citizens of Cheyenne and Laramie County to hear four major concerts per year. ACCC participates yearly in the Cheyenne Christmas Choral Festival and honors as many requests as possible to sing for local civic and professional organizations. “Music is the wine that fills the cup of silence.” ~ Robert Fripp

88 Laramie County Community College

Nancy Cornish Nancy Cornish is a native of Rhode Island where, as a cellist, she performed with the All-New England and All- State Orchestras. She attended Graceland College in Iowa, and earned her Bachelor of Music Education and Master of Music Education degrees from the University of Kansas. She is finalizing her work toward the D.M.A. in choral conducting from the University of Kansas. At the University of Kansas, she directed performances by the Women’s Chorale, the University Singers, and the Concert Choir. In 2003, she joined the faculty at Laramie County Community College in Cheyenne, Wyoming to teach choral music, music history, music appreciation, and music theory classes. Ms. Cornish has worked as a clinician for regional choirs and an adjudicator for state music festivals in Kansas, Nebraska and Wyoming. She is a member of the American Choral Directors’ Association and Music Educators’ National Conference and served as Vice President of Higher Education for Wyoming Music Educators Association for two years. At Laramie County Community College, she sponsors the local student ACDA and MENC chapters, regularly taking the students to state, regional and national conventions. Laramie County Community College Choir Laramie County Community College choirs have a reputation for performing major works very well. Within the past few years they performed Beethoven’s 9th Symphony and Karl Orff’s Carmina Burana with the Cheyenne Symphony, Mozart’s Requiem at Carnegie Hall, and the United States premiere performance of Karl Jenkins’ Stabat Mater at the Lincoln Center in New York City. They also performed Mozart’s Missa Brevis K. 220, Vivaldi’s Gloria, Pergolesi’s Magnificat, Bach’s Kantata NR. 4 Christ Lag in Todesbanden, Bach’s Kantata NR. 78 Jesu, der du meine Seele, Bach’s Kantata NR. 79 Gott, der Herr, ist Sonn und Schild, Rutter’s A Sprig of Thyme and portions of Rachmaninoff’s The All-Night Vigil. The choir’s latest achievements were a performance of the Rocky Mountain Region Premiere of Karl Jenkins’ choral/orchestral masterpiece The Armed Man: A Mass for Peace and a performance of Missa se la face ay pale by Guillaume Dufay. The LCCC Choir has received excellent and superior ratings at competitions in South Padre Island, Texas, Los Angeles, California and Norfolk, Virginia.

89 University of Wyoming

Dr. Nicole Lamartine Dr. Nicole Lamartine is Director of Choral Activities at the University of Wyoming in Laramie where she conducts the Collegiate Chorale, the Singing Statesmen and the Vocal Jazz Ensemble and teaches Public School Methods, Choral Conducting, and Applied Voice. From 2006-2008, she was living and working in both London and Birmingham, UK, where she sang with the choruses of the London BBC and City of Birmingham Symphony Orchestras, performing across Europe and the UK. Prior to her move to the UK, she held the post of Assistant Professor of Choral Conducting at the University of Northern Iowa (Cedar Falls), where she conducted three ensembles and taught applied voice, conducting, and choral literature. She holds a D.M.A. in Choral Conducting from the University of Arizona, as well as the M.M. (University of Arizona) and B.M. (New Mexico State University) degrees in Vocal Performance. She has presented her research at conferences and symposiums of the National Association of Teachers of Singing, the College Music Society, Iowa Choral Directors Association, Iowa Music Educators Association, Wartburg College, Northwest MENC and the American International School in Vi- enna, Austria. As an active conductor and clinician, Dr. Lamartine has co-chaired the National ACDA Collegiate and University Honor Chamber Choir and was chosen to conduct in a master class at Carnegie Hall with Maestro Helmuth Rilling in 2009. Her ensembles have enjoyed collaborations with high schools, churches and community groups across Iowa, Arizona, Wyoming and Colorado. Dr. Lamartine has adjudicated choral festivals, solo and ensemble festivals, and Iowa All-State choral auditions. Guest conducting engagements include choral festivals in New Brunswick, North Carolina and Collegedale, Tennessese. Her clinics focus on vocal pedagogy in the choral rehearsal and Laban Movement Analysis/Bartenieff Fundamentals. She has prepared choruses for Ann Howard Jones and acted as diction coach to the London BBC Symphony Chorus (UK). A devoted technician of the voice, Dr. Lamartine has taught voice lessons and seminars in London, Vienna, and across the U.S. Dr. Lamartine is a member of the American Choral Directors Association, the National Association of Teachers of Singing, the College Music Society, Music Educators National Conference, and is a past member of the Association of British Choral Directors. UW Collegiate Chorale The University of Wyoming Collegiate Chorale is comprised of forty-eight of the finest choral singers on the UW campus. These talented musicians are dedicated to performing compositions from the fifteenth century through the present, including commissions written especially for them, most notably “When All is Done” by John Muehleisen. The Chorale has appeared on numerous state, regional and national convention programs of the American Choral Directors Association, Music Educators National Conference and the Music Teachers National Conference. Touring opportunities have led to performances at the Grand Teton Music Festival in Jackson Hole, Wyoming, Boettcher Concert Hall in Denver, Colorado and Avery Fisher Hall in New York. On the international stage, the Chorale has performed in the finest concert halls and cathedrals of England, Wales, France, Germany, Italy, Austria, Hungary, Poland, Russia, Mexico and Brazil. The Chorale regularly collaborates with the UW Symphony Orchestra as well as regional orchestras in performances of choral/orchestral masterworks. Recent performances have included Haydn’s The Creation, the Verdi Requiem, Carl Orff’s Carmina Burana, and Beethoven’s Ninth Symphony. UW Singing Statesmen The University of Wyoming Singing Statesmen are dedicated to providing outstanding service to the University, the state of Wyoming and to the rich tradition of male ensemble singing in the United States. These talented young men are brought together through the enjoyment of making music and the special camaraderie that is such an important part of the choral singing experience. While focusing primarily on the standard male chorus repertoire, the Statesmen specialize in music unique to the University, state and region. Membership is open to any male singer enrolled at the university, and students from all walks of campus life are encouraged to participate in this ensemble. From athletes to valedictorians, leaders in student government, and clubs/fraternities/activities, the members bring with them a wide diversity in backgrounds and interests. The Statesmen continue to build their tradition of male singing and are continually recognized for their efforts. The Statesmen have opened for the Bar-J Wranglers and have been invited to perform at Carnegie Hall in March 2010. The Singing Statesmen represent the pride and spirit of the University of Wyoming Cowboys. 90 Sponsors, Grants & Underwriters Index

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Intriligator • continued from Page 10 From 1995 to 2000, he was a regular guest conductor of the Saint Paul Chamber Orchestra, conducting that ensemble in educational concerts, concerts of new music, and regional tours. Originally from Santa Monica, California, Intriligator graduated with highest honors in music from Princeton University in New Jersey. He received the first certificate in conducting from the Princeton Program in Music Performance and was awarded the Isidore & Helen Sacks Memorial Prize as the most outstanding musician in his class. He received numerous other awards and accolades as an oboist before turning to conducting. He has also studied piano and violin. After studying music in Europe for a year, Intriligator earned his masters and doctoral degrees in conducting at the University of Minnesota. While a student in Minnesota, Intriligator also served as Assistant Conductor of the Minnesota Opera; Conductor of Ballet Minnesota productions of Nutcracker; Music Director of three civic orchestras (the Metropolitan Symphony, the Kenwood Symphony, and the Saint Paul JCC Symphony); and Assistant Conductor of the University of Minnesota Symphony Orchestra and Opera, where he conducted a full production of Mozart’s The Magic Flute at age 23. He was also conductor of the joint orchestra at the College of Saint Benedict and St. John’s University. His principal conducting teacher was Charles Bruck, with whom he studied privately in Paris and for many summers at the Pierre Monteux School. Other teachers and mentors include Claudio Spies, Christian Thielemann, Murry Sidlin, and Michael Gielen, to whom he served as Apprentice Conductor at the Southwest German Radio Symphony Orchestra in Baden-Baden, Germany. Intriligator was invited twice as a Conducting Fellow to the Aspen Music Festival, where Maestro David Zinman selected him for the inaugural year of the Aspen Academy of Conducting. He has also participated in conducting master-classes with James Conlon, John DeMain, Lawrence Foster, Eiji Oue, Leonard Slatkin, and Robert Spano.

91 Advertisers Index

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