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Grant SupportCheyenne Kiwanis Foundation

Kiwanis is a global organization of volunteers dedicated to changing the world one child and one community at a time. It is one of the largest community-service organizations dedicated primarily to helping the children of the world. The Cheyenne Kiwanis club was organized and charted on Janu-ary 22, 1922.

The Cheyenne Kiwanis Foundation was founded on September 24, 1971 to be a vehicle by which individuals and clubs in the Cheyenne area could make tax-deductible contributions to further Kiwanis goals and purposes. The foundation provides services and support to the activities of the Cheyenne Kiwanis Club, The Rocky Mountain District and Kiwanis International. Every member of the Cheyenne Kiwanis Club is a member of the Cheyenne Kiwanis Foundation. Nine members of the Cheyenne Kiwanis Club are elected to serve on the foundation’s board of trustees on a revolving basis for three year terms.

The Foundation has given to the Cheyenne community and the world including but not limited to Kiwanis International Worldwide Service Project to eliminate Iodine Deficiency Disorder (IDD) around the world, Youth Alternatives, NEEDS, Inc., YMCA, Boys and Girls Club of Cheyenne, HICAP, Attention Homes, CASA of Laramie County and Wyoming Leadership Seminar.

WalmartThe Walmart Foundation strives to

provide opportunities that improve the lives of individuals in our communities including our customers and associates. Through financial contributions, in-kind donations and volunteerism, the Walmart Foundation supports initiatives focused on enhancing opportunities in our four main focus areas:

· Education· Workforce Development· Economic Opportunity· Environmental Sustainability· Health and Wellness

The Walmart Foundation has a particular interest in supporting the following populations: veterans and military families, traditionally under-served groups, individuals with disabilities and people impacted by natural disasters.

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Sponsor Profile101.9 KING FM, 106.3 COWBOY COUNTRY & AM 650 KGAB

1912 Capitol Avenue, Suite 300 Cheyenne, WY 82001Phone: 307-632-4400 Fax: 307-632-1818

We are proud to celebrate our 14th year as Radio Media Sponsor for the Cheyenne Symphony Orchestra and the 2010-2011 “Spectrum of Colors.” Our cluster of radio stations, 101.9 KING FM/106.3 COWBOY COUNTRY/AM 650 KGAB, strive to bring Cheyenne residents the best in music, talk radio and online entertainment. Being a sponsor of the Cheyenne Symphony Orchestra further allows us the opportunity to provide our listeners an alternate avenue into the world of art, music and entertainment.

Our stations are dedicated to being the best in radio by providing three diverse stations in conjunction with our websites. Through these means, we are able to provide the most current news, weather and event information for our Cheyenne listeners. We pride ourselves in staying involved in the community and helping to make Cheyenne stronger by supporting local events and initiatives. If there is something positive happening in Cheyenne, you can be sure that you will hear about it on KING, COWBOY COUNTRY AND KGAB! Like the Cheyenne Symphony Orchestra, our goal is to be the best that we can be and we will continue to set high standards for ourselves to ensure that Cheyenne can count on us as their favorite radio stations.

Pictured at the radio station offices are (seated) Amy Richards, Leslie Hill, and Deborah Weant; (standing left to right) Dave Chaffin, Sherry Sheehan, Rodeo Rick, CSO Board Member Denise Dijkstal, CSO Executive Director Chloe Illoway, CSO Board Member Greg Dyekman, Lesley Martin, Gregg Dobbin, and Doug Randall.

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Hausmusik Series

An Evening with Elena UriosteFriday, February 25, 2011 • 7:00 pmHosted by Bob & Charla Nelson

An Evening with Antonio Pompa-Baldi

Friday, March 25, 2011 • 7:00 pmHosted by Sloan & Anna Marie Hales

Cheyenne Regional Medical Center Cheyenne Regional Medical

Center is committed to exceptional patient care and outstanding patient satisfaction. Founded in 1867 as a frontier tent hospital, Cheyenne Regional has since developed into a state-of-the-art facility, but our commitment has never wavered.

Cheyenne Regional is a 221-bed premier regional health care system. We pride ourselves on delivering the highest standard of quality care to meet the region’s growing health care needs. Our 175 physicians, 1,700 employees and 200 volunteers are passionate health care experts that employ the latest technologies and are dedicated to the healing process for all of our patients.

We offer a comprehensive line of healthcare services including Cancer, Cardiac, Hospice, Neurosciences, Orthopedics, Weight Loss, Wound Care and Vascular.

We’re proud to be an integral part of Cheyenne and its history and to once again sponsor the Cheyenne Symphony Orchestra’s Hausmusik Series.

The CSO is pleased to have Cheyenne Regional Medical Center once again sponsor the Hausmusik Series. Pictured from left to right are CSO Executive Director Chloe Illoway, Dr. Phyllis Sherard, Director of Community Health Improvement, Leigh West, VP Planning & Communication, Dr. John Lucas, Chief Executive Officer and CSO Board Members Joanne Hammon and Anne Lucas.

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Program Notes

rhythm and the ever-increasing volume tend to grab your attention, but pay heed to the wonderful colors mixed up for the listener. The tension generated by the repetition is enhanced by Ravel’s steadfast adherence to the key of C major—although considerable charm and interest is occasionally wrought by having some of the accompanying instruments double the melody simultaneously in different, but closely-related keys. A true stroke of genius occurs near the end—when you think that you are going to scream if you hear another bar of C major, Ravel abruptly signals the approaching end by a short move to the striking and ingratiating key of E major—but only for eight bars. The tumult reaches its climax, and with glissandi from the trombones and saxophones, amid smashing percussion, the orchestra triumphantly slides home to C major by a half step. Ravel’s “experiment” ends and in his own words, you can “. . . take it or leave it.”

Economy of means is a traditional virtue in art, and Ravel intentionally experimented with repetitive rhythm and melody in order focus the mind on changing instru-mental color. Sure, the long crescendo is important, but his acclaimed genius at orchestration makes the piece. You might say that never in the field of musical composition have so many enjoyed so much made from so little (sorry).

Rhapsody in Blue—George GershwinGeorge Gershwin was arguably the most successful

and talented of America’s composers of popular music. His songs constitute the core of the “American Songbook,” whether composed as part of his immensely successful Broadway shows, or as stand alone popular tunes. Born of Russian Jewish immigrants, he did not evince his formidable musical talents until about the age of ten, when a piano was purchased for his older brother and later collaborator, Ira. Much to the latter’s relief, George soon commandeered the piano, and the rest is, as they say, history. His audiences rewarded him substantially—he is estimated to have become the wealthiest composer in modern times. He earned over a quarter of a million dollars for “Rhapsody in Blue” during the first decade of its life, and it still is bringing in the bucks, as witnessed by every commercial for United Airlines.

Rhapsody in Blue was written in great haste for a 1924 concert in New York’s Aeolian Hall given by Denver’s own Paul Whiteman (his father, Wilberforce, was a legend in Colorado music education), billed as “An Experiment in Modern Music.” Notwithstanding the description, you would not have heard Stravinsky

or Schoenberg that night, rather Irving Berlin, Victor Herbert, Jerome Kern, and others of that ilk. However, Jascha Heifetz, Sergei Rachmaninoff, and other luminaries of music were in the audience. The poster read that Whiteman would be “assisted by Zez Confrey and George Gershwin”—notice that the composer of “Kitten on the Keys” and “Dizzy Fingers” received top billing to the young Gershwin. Gershwin had been asked late in 1923 to write a piece for the Whiteman orchestra, but he had turned his attention to more pressing matters, and was horrified to read in the New York Tribune on the 4th of January, 1924 that he was to première a “jazz concerto” on February 12. Gershwin plunged in and presented his brilliant succession of “American” themes to Ferde Grofe, Whiteman’s orchestrator, to arrange for large jazz band and piano (the symphonic version came later)—Gershwin did not have the skill to do this at this point in his career.

The composition opened the second half of the concert with Gershwin as soloist—using no music, and probably considerably “enhancing” the solo part. The opening clarinet glissando evocative of traditional Jewish Klezmer music kicked it off, and the now-familiar tunes came rushing by. While Rhapsody in Blue really is not “jazz,” and certainly not a concerto in the traditional sense, Gershwin turned out a masterpiece that is a model of what came to be called “symphonic jazz.”

What is specifically germane to appreciating tonight’s composition is the importance of so-called “serious” or “classical” musical interests and training in Gershwin’s life that is unprecedented for someone who enjoyed his kind of success. He certainly was not some sort of untutored musical genius who later sought “legitimacy” after having proven himself in the popular world. Rather, early on, as a young boy he studied and performed under traditional piano teachers the music of composers such as Chopin, Liszt, and Debussy. Later, he journeyed to Paris to study under the famed teacher of composition, Nadia Boulanger, as well as Maurice Ravel. However, both rejected him, more or less afraid to compromise the genius evident in his burgeoning success. While in Paris, he met and admired the music of eminent composers such as Prokofiev, Poulenc, and Milhaud. Gershwin’s ambitions were such that, long after he had achieved the kind of success that any popular composer would have envied, he assiduously studied formal composition with established teachers, and he was successful. His Rhapsody in Blue, the Concerto in F, An American in Paris, and Porgy and Bess are masterpieces of his unique bridging of the so-called gap between popular art and “high” art.

Continued from Page 43

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Program NotesAn American in Paris—George Gershwin

After the rousing success of Rhapsody in Blue, Gershwin’s financial security was assured. He moved his family to a spacious apartment in a fashionable section of the Upper West Side, and began not only to collect art, but to paint. He established his place in the smart set of New York society—no party was complete without George at the piano surrounded by his admirers, as well as the usual social butterflies; oh, to have been a “fly on the wall” for those affairs! He continued to compose for the musical theatre, but began in earnest serious composition lessons, as well—and with some distinguished composers, including Wallingford Riegger and Henry Cowell.

In the early Spring of 1928 through the month of June, he and his family traveled to Europe, where he met many of the most distinguished composers of the time: Ravel, Berg, Prokofiev, Milhaud, Poulenc, and others. By then he had composed his Concerto in F, which he heard, along with the Rhapsody in Blue, at a concert given in his honor. He evidently was anticipating details of the composition of a tone poem about Paris, for he dug around in Parisian garages and brought home with him used taxi horns that were used in the première performance. That took place on 13 December 1928, with Walter Damrosch conducting the New York Philharmonic. The eminent music critic and composer, Deems Taylor, and Gershwin had been in Paris at the same time, and had met at several parties in the city. Later, in the fall, they went over the completed score and collaborated to create a detailed program or story for Gershwin’s inspiration. The program is too long to repeat here in its entirety, but it may be paraphrased somewhat like this:

In early summer, an American is walking down the Champs-Elysées, enjoying the sounds of the city, including taxi horns, passing by a café and hearing a tune from the old century in the trombones. He continues walking with a new theme in the clarinet. Yet a new walking theme takes him across the Seine to the Left Bank, where perhaps a whiff of anise muddles him a bit (accompanied by the little cadenza in the solo violin—the attentive listener here may think of Debussy, and the composer more or less acknowledged it). Our hero becomes a bit homesick, and we hear the blues, but as he sinks lower, he is rescued by the Charleston, announced by a pair of trumpets. Various previous tunes are recapped, as the American obviously decides to enjoy Paris, and the “orchestra, in a riotous finale decides to make a night of it.”

© Wm. E. Runyan

Dr. William E. Runyan —Author of Program Notes

William Runyan has played bass trombone with the Cheyenne Symphony Orchestra for eighteen years. A retired university teacher, he taught music history, tuba, trombone, and euphonium lessons, and conducted wind ensemble and orchestra. Dr. Runyan holds the MA and PhD degrees in musicology from the Eastman School of Music in Rochester, NY. While there he was a student of Emory Remington, Donald Knaub, and Charles Warren Fox.

A published author, he has written encyclopedia and periodical articles on opera, orchestration, and brass instruments, as well as editing historical editions of music. He is married to Myra Monfort, formerly of Greeley, CO, and a member of the CSO Board of Directors. They have five children and step-children and four grandchildren of New York City and Colorado.

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Community SupportCity of Cheyenne

The City of Cheyenne is a strong supporter of the YES! Concerts, which are presented to more than 3,000 fifth and sixth Cheyenne grade school students. This project brings these young students to the Cheyenne Civic Center to promote an appreciation of all types of music and to broaden their experience. For some students this is the first live concert they will experience in what is hopefully the beginning of a lifelong appreciation of music.

The Cheyenne Symphony wishes to thank Mayor Kaysen and the City Council members for their support and encouragement of the symphony’s education program.

Laramie County School District No. 1Laramie County School District No. 1 and its music department have been strong

supporters of music education for all students and have encouraged the Cheyenne Symphony’s education programs for many years. In 2009, LCSD No. 1 has a total K-12 enrollment of 12,832 students serving 33,268 households. Many of these students are involved in music programs, including the All-City Children’s Chorus, All-City Band, All-City Orchestra, All-City Vocal groups and Youth Symphony, in addition to elemen-tary music classes, choir, orchestra and band at all levels. Each year all the District’s fifth and sixth grade students are able to attend a special event presented by the Cheyenne Symphony. The annual YES! (Youth Education Symphony) presentation gives students an opportunity to learn about classical music as presented by the Cheyenne Symphony Orchestra. They learn about the instruments, the role of musicians and the conductor, and about the music that is presented. The Cheyenne Symphony is very pleased that LCSD No. 1 has made every effort possible to ensure the students are able to attend these concerts.

CSO Education Coordinator Mary Kay Huck, CSO Executive Director Chloe Illoway and Mayor Rick Kaysen spend a little time visiting in the City courtyard.

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Special ThanksWe wish to honor those individuals who contrib-uted their time and talents in helping to create this year’s program…Corporate and Board Photographs— Vicki BloethnerCover Art— Amara ChristensonProgram Layout & Design—Vicki BloethnerProgram Editing—Vicki Bloethner, Mary Kay Huck, Chloe Illoway, William Intriligator, and Jason Johnston. Program Notes—Dr. William E. RunyanWilliam Intriligator Photo—Pitman PhotographyCheyenne Chamber Singers, Jane Iverson, & Sean Ambrose Photos— Keith Turbitt’s Shutter-Visionand we wish to thank our Business Partners, Underwriters, Sponsors and Advertisers, without whom these concerts would not be possible. Please support these businesses because they support the Cheyenne Symphony Orchestra.

Season Concert

February 26, 2011

The Magic of MozartSponsored by

Bank of the West Dyno Nobel, Inc.

Pioneer Printing & Stationery Co., Inc.

Cheyenne Symphony Orchestrapresents

William Intriligator, Music Director and ConductorElena Urioste, Violinist

Overture to The Magic Flute (1791) Wolfgang Amadeus Mozart (1756-1791)Violin Concerto No. 5 in A major, K.219 Turkish (1775) Wolfgang Amadeus Mozart I. Allegro aperto—Adagio—Allegro aperto II. Adagio III. Rondo—Tempo di Minuetto Ms. Urioste, violin

Intermission

Symphony No. 2 in D major, Op. 73 (1877) Johannes Brahms (1833-1897) I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito

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Guest ArtistElena Urioste

Elena Urioste, featured on the cover of Symphony magazine as an emerging artist to watch, has been hailed by critics and audiences alike for her lush tone, the nuanced lyricism of her playing, and her commanding stage presence. Elena's debut performances with the Chicago Symphony Orchestra in 2010 were praised by three separate critics for their "hypnotic delicacy," "expressive poise," and "lyrical sensitivity." Since first appearing with the Philadelphia Orchestra at age thirteen, she has made acclaimed debuts with major orchestras throughout the United States, including the Cleveland Orchestra, the Boston Pops, the Buffalo Philharmonic, and the Atlanta, Baltimore, Detroit, Pittsburgh, Richmond, San Antonio, and Sarasota symphony orchestras. In Europe, Elena has appeared with the London Philharmonic Orchestra and Hungary's Orchestra Dohnányi Budafok. She debuts with the Würzburg Philharmonic Orchestra in the 2010-2011 season.

As first-place laureate in both the Junior and Senior divisions of the Sphinx Competition, she debuted at Carnegie Hall in 2004 and has returned annually as soloist. She has collaborated with acclaimed conductors Sir Mark Elder, Keith Lockhart, Robert Spano, Carlos Miguel Prieto, Piotr Gajewski and Alondra de la Parra; pianists Christopher O'Riley and Ignat Solzhenitsyn; cellists Zuill Bailey and Carter Brey; and violinists Shlomo Mintz, Cho-Liang Lin, and David Kim. Elena has been a featured artist in the Ravinia, La Jolla, and Sarasota Music Festivals, as well as Switzerland's Sion Valais International Music Festival. She was a first-prize winner of the Sion International Violin Competition, which also awarded her its audience prize and the prize for best performance of the competition's newly commissioned work.

Elena made her Wigmore Hall recital debut in 2009 as one of three recipients of the prestigious London Music Masters Award. Earlier that year she debuted at Lincoln Center's Alice Tully Hall. She makes her first appearance at the prestigious Marlboro Music Festival in 2010.

Her media credits include the popular radio programs From the Top and Performance Today; appearances on Telemundo and NBC's Today Show; and a McGraw Young Artists Showcase performance for a live studio audience at WQXR's Greene Space in New York City.  She is featured in the Emmy award-winning documentary Breaking the Sound Barrier, and in numerous magazines including Symphony, Strings, Philadelphia Music Makers, and Careers and Colleges.  Her first CD was released on the White Pine label. 

Elena is a graduate of the Curtis Institute of Music, where she studied with Joseph Silverstein, Pamela Frank, and Ida Kavafian. She completed graduate studies with Joel Smirnoff at The Juilliard School.  Other notable teachers include David Cerone, Choong-Jin Chang, Soovin Kim, and the late Rafael Druian. 

The outstanding violin being used by Elena is an Alessandro Gagliano, Naples, c. 1706. Along with a Pierre Simon bow, it is on extended loan from the private collection of Dr. Charles E. King through the Stradivari Society of Chicago.

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Program NotesOverture to The Magic Flute, K. 620

—Wolfgang Amadeus MozartMozart’s incomparable musical gifts enabled him

to compose at the highest level of artistic brilliance in almost every musical genre. We are privileged to experience his legacy in symphonies, chamber music, wind serenades, choral music, keyboard music—the list goes on and on, but unquestionably, his greatest contributions to musical art are his operas. No one—not even Wagner, Verdi, Puccini, or Richard Strauss excelled the perfection of Mozart’s mature operas. The reason, of course, is clear: his unparalleled musical gift is served and informed by a nuanced insight into human psychology that is simply stunning. While Mozart composed both comic operas and serious operas, and in both German and Italian, his major body of work lies in his opera buffe, or Italian comic operas. Almost every music lover cherishes his Cosi fan tutte, The Marriage of Figaro, and Don Giovanni, but his last opera— Die Zauberflöte, meaning The Magic Flute—is rather different from these.

Die Zauberflöte was given its première in 1791 in Vienna, the last year of Mozart’s life. It is in German with spoken lines written by his collaborator, Emanuel Schikaneder. It garnered immediate popularity, never diminishing to this day, for any number of ingratiating elements. A varied cast of singers and characters entertain us from the rise of the curtain: a comic, feathery pair of bird/human lovers, an earnest pair of real human lovers, an evil Moor (standard in Viennese drama of the times—the Turks were a very real threat to Europe), a noble high priest and his chorus of priestly followers, an evil queen and her retinue, a pair of ghostly men in armor, trios of boys and virtuous wraith-like women, and to top it all off, enchanted animals. On the stage! Did I mention “magic” flutes and bells? You get the picture—something to please almost anyone.

However, it is not all fun and games—this allegory, like perhaps Shakespeare’s Midsummer Night’s Dream, is a profound exploration of some of life’s deepest and most essential issues. Courage, transfiguration, wisdom, romantic love, illusion and perception, freedom, and unity—all are examined in depth. It has been said that one definition of a masterpiece is that it is rather like an artichoke: one peels tasty layer after layer only to find the best part hidden at the center, and thus it is with this work.

Many significant men of the Enlightenment were Masons, and so were Mozart and Schikaneder. Generations of Masons and scholars have found that The Magic Flute is permeated from beginning to end

with Masonic values and symbolism, and we hear it right from the opening chords of the overture: three chords, dominated by three trombones, and in the key of Eb (three flats). This emphasis upon the symbolic three continues throughout the opera, with a plethora of other symbolic allusions. After the somber opening, the strings zip off in a vivacious fugato (you can hear each section come in one after the other) that takes us to a dramatic ending that sets a perfect introduction to a perfect opera—one that speaks to the common nature of us all.Violin Concerto No. 5 in A Major, K. 219 Turkish

—Wolgang Amadeus Mozart Visitors to the small, sparse museum located in the

putative home of the Mozart’s in Salzburg will see a glass display case containing the little violin of the young Wolfgang. It reminds us of the centrality of the violin in Mozart’s younger days. His father, Leopold, was the author of the most celebrated tutor for the violin in the eighteenth century, published 1756 (incidentally the Colorado State University Library has an original copy in Special Collections, which anyone is welcome to see). Little Wolfgang was his prize pupil, and his performances on the violin were a mainstay of his celebrity during all those barnstorming tours as a child. A little older and back home in Salzburg, Mozart led the little court orchestra as a virtuoso concertmaster. In 1775, at the age of nineteen, Mozart composed all five of his violin concertos, for own use, of course. Though composed rather quickly in succession, each concerto shows growing mastery of the genre, culminating in the important A Major concerto. In many respects it is his swansong for the violin, for after leaving Salzburg for Vienna a few years later, he never again played the violin in any significant situations, preferring to play the piano in public and the viola in private music making with his friends.

The A Major concerto is perhaps the best violin concerto of the latter half of the eighteen century, and probably the most frequently played violin concerto. It certainly merits the attention because this work marks Mozart’s emerging mature style in every way. In the first movement, Mozart’s imagination comes to the fore immediately, for upon the entrance of the soloist, the whole atmosphere of the movement changes for a bit, as the bustling tempo of the orchestra is replaced by a brief slow passage of considerable gravitas for the soloist. The faster tempo resumes, but in the middle of the move-ment we encounter darkly colored excursions in minor keys and somber emotion. This is rather typical of music from this period in Mozart’s life, and some listeners may remember similar passages in his so-called “Little

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Program NotesG Minor” symphony from the same period. The middle movement is predictably a lyrical one, simply of exquisite beauty.

It is the last movement that gives the concerto its moniker, and starts out as a conventional dance (it is a minuet) in a form in which the main idea alternates with other contrasting ideas. It is in the contrasting section that occurs just before the last statement of our familiar main theme that Mozart “drops the bomb.” For this surprise, he recycles a kind of “Turkish” march from an earlier opera, “The Jealous Harem Women.” It is different in every way: tempo, meter, mood, culture—you name it. So-called “Turkish” music was all the rage in Vienna then owing to the threat to the city by the Turks for centuries (Museums in the city, today, are full of artifacts from the wars). All of the major composers wrote pieces with what the Viennese thought of as Turkish qualities: cymbals, drums, triangles, piccolo, thumping bass lines, etc. You will remember Beethoven’s use of the conceit in the last movement of his Ninth Symphony. Well, it comes as a complete surprise here, rather like an uninvited drunken guest at the party, and it is all great fun. The basses enhance the effect of tomfoolery by striking the strings with the wooden part of their bows. Just when things seem out of control, the graceful minuet returns and all is put right. Surprisingly, the movement ends quietly, almost with a sigh, not apologetically, but definitely rather like conciliatory relief.Symphony No. 2 in D Major, Op. 73

—Johannes BrahmsSimply put, the composers of the nineteenth century

after Beethoven tended to divide themselves into two groups. The progressives were true “Romantics,” and were greatly influenced by the extra-musical ideas that were the subjects of contemporary literature, poetry, and painting, among others. They devised new genres, such as the tone poems of Smetana and Liszt, the music dramas of Wagner, and the characteristic piano pieces of Chopin. This music, to use a phrase still common among seekers of meaning in music, was about “something”—meaning something familiar to human existence. Others, Brahms most significantly, still adhered strongly to the musical philosophy that great music was simply about “itself,” and required no extra-musical references for complete and satisfying meaning. Therefore, he and his ilk continued to write “pure” or “abstract” music, like sonatas and symphonies (a so-called symphony is just a sonata for orchestra). The example of Beethoven’s music (in this tradition) loomed almost as overwhelming for Brahms, and he

waited for decades after reaching musical maturity to essay his first symphony, completing it in 1876, when he was forty-three years old. It garnered sufficient success to be deemed the “Tenth,” referencing Beethoven’s nine in that genre, although it bears more comparison with Beethoven’s fifth symphony.

It did not take Brahms nearly so long to write his second symphony as it did the first, and the mood of the work is a strong contrast to that of the mighty serious-ness of the first. That is not to say that the second is not without a gravitas that is an essential part of the composer’s musical (and his own, for that matter) personality. However, if anything, one could characterize this important work as “sunny.” It is common to call it his “pastoral” symphony. That being said, it is still Brahms, and therefore infused with melancholy—not tragedy, not sadness, just deep reflection upon the human condition. It was composed during the summer of 1877, while Brahms was vacationing in a particularly beautiful part of southern Austria, surrounded by inspiring mountains and tranquil lakes. He certainly understood the work’s general cheerfulness, but playfully teased his publisher about the nature of the symphony by claiming that it was such a dark and gloomy work that the score should be edged in black. We know better, of course.

The first movement opens with a simple little four-note motive in the low strings that absolutely forms the core of the piece. Only a consummate artisan like Brahms could do so much with such a simple idea. The motive pervades the movement, and it is a cheerful and rewarding process to spot as many variants of it as the music unfolds. As soon as we hear that motive, romantic horns—evoking the bucolic setting—play another essential motive. We will hear a lot of each. The warmth and optimism of the opening has no sooner started, than unexpectedly there is a soft, menacing timpani roll and quiet, sinister passage in the trombones. Brahms explained, though he had intended to do without the trombones in the first movement, he could not resist depicting the “black wings” constantly flapping above us all. Soon thereafter, the alert listener will spot Brahms’ famous “Cradle Song” melody appearing as a major melodic element in the movement. The middle of the movement is a vigorous working out of all that we have heard, including some startling real nastiness in the trombones, that remind us that all is not happiness and light. A varied review of the entire familiar wraps up the movement, and we end calmly and securely in a soft chord of affirmation.

See Program Notes • Page 66

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Sponsor ProfileBank of the West We are happy and pleased to be able to support the Cheyenne Symphony.

Bank of the West is the proud sponsor of a wide range of arts, community and philanthropic initiatives, not only in Cheyenne but also across our 19-state footprint in the West and Midwest. In addition to the Cheyenne Symphony, Bank of the West underwrites the largest free public concert in Iowa, the annual Fourth of July community concert and fireworks in Omaha, and exhibits of Impressionist painting in San Francisco.

Moreover, starting this year, we are the presenting sponsor of Cheyenne Frontier Days – if you are our customer, stop by for our downtown rooftop BBQ and watch a parade next July, or become our customer and consider yourself invited. We have been a Frontier Days sponsor for years.

In addition, we have been financing growth in the West even longer than the “daddy of ‘em all.” Founded on the frontier in 1874, Bank of the West now has 26 banking locations all over Wyoming, with three branches (1800 Carey Avenue, 1515 Dell Range Boulevard and 2200 East Lincoln Way) plus our commercial banking office here in Cheyenne.

We offer a full range of personal banking and commercial products and services, with features from online bill payment and business cash management to private banking, trust services, insurance and investments. We have recently expanded our smaller business and SBA lending capabilities, and we have been making loans throughout the economic downturn.

With our award-winning customer service and business banking capabilities, $61 billion in assets and 700 branch and commercial locations, Bank of the West provides just the right balance of personalized local banking and the product and service technology of a large regional institution.

Dyno Nobel, Inc.Dyno Nobel, Inc. continues the tradition of providing

quality nitrogen products throughout Wyoming and the Western United States from their manufacturing facility in Cheyenne. Their products are used for both industrial and agricultural customers in 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.

Pictured from left to right: CSO Board Member Bob Fecht, CSO Executive Director Chloe Illoway, CSO Board Member Kim Lovett, and Bank of the West’s Angela Lopez, Credit Analyst, Jeri Uhrich, Financial Advisor, Pam Snell, Vice President IM&T, and Anne Lucas, Vice President Commercial Banking.

Pictured above with Dyno Nobel Plant Manager Douglas Chandler (second from right) are CSO Executive Director Chloe Illoway, CSO Board Member Greg Dyekman, and CSO Board Member Bob Nelson.

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Sponsor ProfilePioneer Printing & Stationery Co., Inc.

—A piece of Cheyenne’s history and futureEstablished in 1869 as SA Bristol Company, by S.A. Bristol himself, the

shop was first located between 18th and 19th Street, on what is now O’Neil Street. Mr. Bristol hauled his printing equipment by team and wagon to form what is now the longest continuous business in the state of Wyoming on his own back porch. S.A. Bristol was the grandfather of Charles Bristol, father-in-law to Daze Bristol.

Since then, Pioneer Printing as moved from West 16th Street, near the hill overlooking Crow Creek, to the north side of 16th Street, between Carey and Pioneer Avenues, and then to Capitol Avenue. It is presently located at 514 West 19th Street, coincidentally across the street from the old Bristol home and its original location in 1869.

In 1890 Bristol brought in the first Monotype machine to be introduced in the west. This machine eliminated hand setting and launched the business into a new era of printing. When S.A. Bristol passed away, ownership passed to William Fairchild who, in 1930, moved the shop and changed the name to Capitol-Pioneer Press.

The business changed owners three more times, from Fairchild to Jack Burri to Charles Nichols, who re-named the company to Pioneer Printing & Stationery Company in 1953 and then to Bob Schriner and Jake Ohashi. In 2003, Mr. Schriner and Mr. Ohashi sold Pioneer to Jerry Ziemann, the former production manager of 25 years.

Pioneer Printing is now a state of the art print shop with the best equipment the industry has to offer. Under the new ownership of Jerry Ziemann, Pioneer Printing has become a leader in quality and customer service and contin-ues to expand throughout the states of Wyoming, +Colorado and, recently, Texas.

The Ziemann family is excited to be a part of Cheyenne and the shop doors are always open to visitors wanting to see the new era of printing in Wyoming!

Pioneer Printing’s CFO Antje (AJ) Magee (seated) is pictured with Customer Service Representatives Patty Skillern, Susi Craig and Latisha Nett.

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Program Notes

The second movement is one of Brahms’ loveliest creations, beginning with the cello section spinning out a long-breathed, elegant line. The lyricism continues with other equally attractive tunes, and after a short development, the movement ends as tranquilly and softly, as does the first.

The third movement is a graceful evocation of a lighthearted walk and scamper through the out of doors, to my mind. Two contrasting sections alternate: the first a gentle stroll—but almost slowly waltzing, and the second a rough, rather Beethoven-like scurry. Yet, for all the motion, this movement, too, like the first two, ends quietly.

After all of this placidity, the time has come to “let’er rip,” and the last movement opens in the strings with the quiet intensity of summer lighting on the horizon. We just know that this is going to be a romp, and it is. A few simple, memorable themes carry this thing along, and while it is tempting to track them as Brahms works them around and about—it is not really about that process at all. It is about his uncanny ability to build and release tension, to kick you about with unexpected accents, to cross and re-cross the meters as he builds a tight and remarkable architecture that drives in a fury to the end. The so-called second theme becomes the primary element that relentlessly carries us to the final magnificent statement in the trumpets, and a blaze of a D major chord in the now optimistic trombones concludes all. There are few moments in all of music so glorious.

© Wm. E. Runyan

Continued from Page 63

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Season Concert

March 26, 2011

Pompa-Baldi Keyboard Passion

Sponsored by

Cheyenne Symphony Foundation First Interstate Bank WINhealth Partners

Underwriting of Guest Artist provided by

Highland Farms, LLC

Cheyenne Symphony Orchestrapresents

William Intriligator, Music Director and ConductorAntonio Pompa-Baldi, Pianist

Overture to A Midsummer Night’s Dream, Op. 21 (1826) Felix Mendelssohn (1809-1847)Piano Concerto in A minor, Op. 54 (1845) Robert Schumann (1756-1791) I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivaceMr. Pompa-Baldi, piano

IntermissionPiano Concerto in A minor, Op. 16 (1868) Edvard Grieg (1843-1907) I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcatoMr. Pompa-Baldi, piano

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Guest ArtistAntonio Pompa-Baldi

Born and raised in Foggia, Italy, Antonio Pompa-Baldi first came to the U.S. in 1999 to participate in the Cleveland International Piano Competition. He won the First Prize, and, while fulfilling all the engagements that came with it, he and his wife, Italian pianist Emanuela Friscioni, decided to make Cleveland their home. A top prize winner at the 1998 Marguerite Long-Jacques Thibaud Competition of Paris, France, Antonio Pompa-Baldi also won a silver medal at the 2001 Van Cliburn International Piano Competition, as well as the Award for the Best Performance of a New Work.

Mr. Pompa-Baldi has toured extensively in four continents, bringing his assured touch on the keyboard to some of the world’s major concert venues including Cleveland’s Severance Hall, Milan’s Sala Verdi, Naples’ Teatro Diana, New York’s Lincoln Center and Carnegie Hall, Boston’s Symphony Hall, and Paris’ Salle Cortot, Salle Gaveau, Salle Pleyel, Theatre des Champs-Elysees and Théâtre du Châtelet.

Mr. Pompa-Baldi’s recent engagements include a triumphant debut in Beijing, China: after a recital in the Forbidden City Concert Hall, and Master Classes at the China National Conservatory, he was named Honorary Guest Professor of that Institution; highly acclaimed recitals in London, England, and Palma de Mallorca, Spain, and a performance with the National Symphony Orchestra of Ukraine in Kiev. Mr. Pompa-Baldi also made orchestral and solo debuts at Carnegie Hall, respectively in Isaac Stern Auditorium and Zankel Hall, as well as appearances with the Houston Symphony, Berliner Symphoniker (in Tokyo, Japan), Colorado Symphony, North Carolina, Peoria, and Duluth Symphony Orchestras, Rochester Philharmonic, Jacksonville Symphony, Auckland Philharmonia (New Zealand), Kansas City Symphony, Toledo Symphony, Cleveland Pops, National Orchestra of Santo Domingo, Symphony of the Americas (Ft. Lauderdale), and Canton Symphony. He also performed recitals in cities such as Seoul, Paris (Chopin Festival), Chicago, Ravinia, Houston

See Pompa-Baldi • Page 74

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Program NotesOverture to A Midsummer Night’s Dream, Op. 21

—Felix MendelssohnMendelssohn was a prodigy, born into a

distinguished family of Jewish bankers and philosophers. He and his sister Fanny—also a talented composer, conductor, and pianist—were raised in a warm, intellectual, highly supportive artistic family. In fact, Felix and his sister were incredibly precocious. He was probably one of the best-educated major composers of all time. Voracious readers, interested in science and philosophy, and daily conversationalists with the leading minds of Germany, the siblings even started their own literary magazine in their early teens. Obviously, they matured quickly, and a stream of musical compositions soon flowed from them both. Mendelssohn was clearly one of the most important German composers of the 19th century, and infused the expressiveness of early romantic music with the clarity and intellectuality of Mozart and Haydn’s classicism. This exquisite balance found expression in a wide variety of musical genres; Mendelssohn was as at home writing Protestant oratorios such as Elijah and St. Paul as he was composing chamber music and symphonies. He created a significant body of work in his relatively short life, including major works for orchestra that constitute an important part of today’s repertoire. These works include five symphonies, six concert overtures, and six concertos.

His musical style reflects, to a large degree, his upbringing and his personality—it speaks of discipline, balance, and an overall cheerful, largely untroubled mien. While his compositions reflect solicitude for clear, balanced musical structures, and an obvious avoidance of excess of romantic emotion and empty virtuosity, there is nevertheless a sentimental and emotive quality to them. His personal musical voice reached maturity by the remarkable age of seventeen, a feat some say that even Mozart did not attain.

Fanny and Felix, like so many on the continent during the 19th century, adored Shakespeare, and the concert overture inspired by A Midsummer Night’s Dream for two pianos (to be played by brother and sister) was written when Mendelssohn was seventeen. He soon orchestrated it, and his facility at that task is no less an achievement than the overture’s composition itself. Mendelssohn captured Shakespeare’s world of fairies, Oberon and Tatiana, gossamer atmospheres, magic, elves, and donkeys with a deft facility that is simply unmatched—even by Berlioz.

The magic begins immediately with the immortal four chords of the opening—a remarkably simple little

affair, but memorable for their effect, and the source for many of the tunes in the work. As the instrumentation builds from chord to chord, the curtain rises in our mind’s eye and we are transported to Shakespeare’s enchanted world. A spritely dance for fairies begins straightaway and we are off. While the musical structure is conventional, it is cloaked in the marvelous tunes that evoke the players’ personalities, even closing the first section with a humorous “hee-haw” from Bottom, the donkey. After working through the themes, the magic chords that open the work return and, after a reprise, the work ends with the same soft chords of the beginning—chords that draw our reverie to a sleepy close, and in Franz Liszt characterization, we slowly open our eyes.

Piano Concerto in A Minor, Op. 54—Robert Schumann

This work was Schumann’s first piano concerto, the best of the lot, and deservedly one of the most popular in all of the repertoire. Schumann composed in almost all of the common genres, and notwithstanding his success in the larger forms, did perhaps his most respected work in song and piano literature. A gifted and passionate musician, he was privileged to be married to the love of his life, Clara Wieck, herself a respected composer and highly regarded concert pianist. Known—at least during his lifetime—almost as much for his distinguished career as music critic and essayist, even today his analyses and commentaries lend valuable insights into the music of his milieu and times. He was a formidable pianist—his wife even more so—and his contributions to the piano stand with those of Schubert, Chopin, and Brahms in artistic significance.

Schumann was a Romantic to the core, as evidenced by the deep emotional feeling imbued in his works; by his great appreciation for fine poetry in his song settings; and by his ability to create unique and profound art in the briefest of music moments. Yet, withal, he had great respect for clarity, balance, and formal integrity so characteristic of the music of Classicism. It must be admitted, however, that to some degree his deep passions and emotional self-indulgences can be seen as aspects of a personality that ultimately broke down in the psychoses and pathologies that led to his early death in an institution. He was happy early on, however, and the years of his early marriage to Clara brought forth masterworks in spates, as his mind focused extraordinarily in narrow directions. He wrote primarily piano music during the 1830s, over 125 songs in 1840 (he called it his “year of song”), symphonic music in 1841, chamber music in 1842, and so on.

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Program NotesThe A minor piano concerto stems originally from

the year of symphonic music, 1841, and originally took the form of a single movement for piano and orchestra, which he entitled a Phantasie. It almost resembles a miniature concerto in one movement, for each of its three main sections—unlike the norm typical of usual first-movement form—has its own character and tempo. Moreover, he constructs most of the movement from essentially one idea (some say a kind of musical anagram of a pet nickname for Clara). In the middle section, he recasts the opening theme into the major mode, in a kind of nocturnal mood. The last section takes its course in yet a new mood, but with reference to the opening theme. After the première of the work in that form in the same year, he sought unsuccessfully for a publisher. Failing to find one, he put it away, but returned to the composition almost four years later, while recovering in Dresden from severe depression, exhaustion, and a variety of phobias. Deciding to remake the Phantasie into a regular piano concerto with the usual three movements, he added to it a slow movement and a finale in 1845. In that form, it was published the next year, and as they say, the rest is history.

The work, notwithstanding the composer’s pianist abilities, reflects his deep suspicions of empty virtuoso bombast so often characteristic of contemporary piano works. While a document of true romantic feeling and expression, and certainly not without its moments of formidable technical challenges, it is a work of romantic taste of the highest order. Some elements of the first movement have been mentioned, and further notice should be given of the delightful and solicitous writing for solo woodwinds that engage the piano soloist. The Intermezzo of the second movement gracefully explores a variety of reflective moods and moves without pause into the buoyant finale. This last movement treats the theme of the first movement in the major mode, varying it constantly—both procedures common to the romantic period. Yet in its midst the orchestra takes a shot at fugue-like passage—definitely a relic of the distant past of J.S. Bach. We must remember that at the time of the composition of this movement the composer and Clara had just finished a series of preludes and fugues in that old Baroque style. The dance-like theme hurdles along merrily, alternating with excursions to contrasting materials, before ending jubilantly. We are more than fortunate that the early indifference to this ingratiating work led Schumann to flesh it out in such an endearing fashion, and it reminds us of the happier moments in truly gifted artist’s bittersweet life.

Piano Concerto in A Minor, Op. 16—Edvard Grieg

Easily Grieg’s most famous work, it was composed in 1868 when the composer was only twenty-five years of age. Married the year before, he, his wife, and their two-month old daughter were in Denmark escaping the more rigorous Norwegian climate. Grieg was an excellent pianist—it was a major focus of his life as a composer—and had the privilege of hearing Schumann’s piano concerto played by Schumann’s wife, the great virtuosa, Clara Schumann, while a student at the Leipzig conservatory. It has long been accepted that the Schumann composition influenced much of the young Grieg’s concerto. With its multitude of attractive melodies and its dramatic musical rhetoric, it became a Norwegian favorite almost immediately—although the rest of the world warmed to it gradually. The greatest pianist of the time, Franz Liszt, however, read it early on and praised it with unreserved enthusiasm. Later, near the end of Grieg’s life, Percy Grainger—a leading piano virtuoso of the time—spent time with Grieg in Norway studying the work and promoted it for the next half century.

Grieg’s musical panache is in evidence from the beginning when the timpani crescendos right into the soloist’s big-time entry. This dramatic beginning is followed by a winsome succession of tunes—seven, all told—memorably led by the melody in the cellos accompanied by trombone chords. The tender second movement has been associated with Grieg’s response to the recent birth of his daughter, Alexandra. The last movement is based upon the rhythms of the traditional Norwegian folkdance, the halling, with a lyrical diversion in the middle featuring a solo flute.

While the popular idea of Grieg today may pigeon-hole him as a late Romantic nationalist, master of ingratiating tunes, and painter of quaint Scandinavian scenes, he is much more. He was strongly influential upon Debussy—especially in comparing their respective string quartets—and upon the evolution of advanced harmonic thinking in general. In a famous exaggeration, Frederick Delius observed that: “Modern French music is simply Grieg plus the prelude to the third act of Tristan.” Persiflage perhaps, but more than a grain of truth there.

© Wm. E. Runyan

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Sponsor ProfileCheyenne Symphony Foundation

The Cheyenne Symphony Foundation is a non-profit organization dedicated to providing grant support to the Cheyenne Symphony Orchestra through its Permanent Endowment. Earnings realized from the Endowment are used to support the Orchestra and its community and educational outreach programs. Through the generous gifts of visionary donors, the Endowment allows the Foundation to provide much needed grant support to the Orchestra. The Foundation is the proud sponsor of the “Prelude for Youth Program” where 120 tickets per concert are given free-of-charge to Laramie County students, helping to introduce young people to the beautiful world of orchestral music.

We want to do more. We need your help and commitment. Please make a gift to the Foundation. Gifts at any level are appreciated greatly. Gifts, whether in the form of cash, stocks or bonds, through your will, living trust or other options, will help maintain the viability of our Orchestra.

Donors are recognized in the Symphony program, and major gifts are recognized on the Foundation’s “Sound Investment” wall display in the Cheyenne Civic Center lobby. Learn more about the CSO Foundation on pages 86-89.

CSO Foundation Board Front Row: Ken Erickson, John Metzke and Dana Metzke. Back Row: Brandi Monger, Guido Pagnacco and Tom Stuckey.

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Sponsor ProfileFirst 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. In fact, based on our financial performance, First Interstate was named one of America’s Top 10 mid-size banks for 2009 by US Banker Magazine. We offer a safe place for your money to grow and peace of mind, knowing that your deposits with us are FDIC insured.

We are proud of our success over the past year and recognize that our bank is a reflection of the communities we serve. When our communities do well, we do well and there is much about our local economy that remains positive. In many of our communities, the real estate market continues to be strong and unemployment rates, while rising, remain lower than the national average.

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 2009, First Interstate Bank, its directors and employees, the Foundation and the Scott family donated nearly $4 million to many worthwhile organizations and causes in our communities in Wyoming, Montana and South Dakota.

We know that a tough road lies ahead. But to us, the cup is more than half full, not half empty. As we look ahead to 2010, we are keeping our focus on all that is good and positive in our communities. Because in the end, as neighbors in this place we call home, it’s 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.

WINhealth PartnersAt 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 providing 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 offer employees affordable medical plans with benefits designed to fit their needs. In addition, we now offer individuals access to our network of providers through our Freedom benefit plans and to Medicare beneficiaries through our Medicare plans.

For quality health care for Wyoming communities, turn to the trusted source – WINhealth Partners.

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 2010/2011 Season.

First Interstate Bank is a long standing sponsor of the CSO. Picutred above are (seated) CSO Execu-tive Director Chloe Illoway, FIB President Matt Pope, Personal Banking Manager and CSO Board Member Sharon Catellier, (standing) CSO Board Member Bob Nelson, Advisory Board Members Jack Spiker and Pete Illoway and CSO Board Member Bob Fecht.

The team at WINhealth continues to support the Cheyenne Symphony Orchestra. Standing in their front yard on a gorgeous Cheyenne day are Sharon Goodman, Senior Operations Manager; Amy Hayes, Senior Manager Health Management, Wellness, and Provider Services; Kirk Shamley MD, Medical Director; CSO Board Member Cindy Lewis; CSO Executive Director Chloe Illoway; CSO Board Member Sheila Bush; Michael Mason, Controller; Stephen K. Goldstone, President and Chief Executive Officer; Jonas McKinley, Sales Executive; Courtney Popham, Senior Underwriter; Aimee Dendrinos, Vice President and General Counsel; Elizabeth Hoy, Vice President Strategic Development; Mary Kaempfer, Administrative Manager; CSO Board Member Diane White; and Jennie Alvis, Sales Manager Individual and Medicare Plans.

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Guest Artist

(Texas Music Festival), Portland (OR), Sacramento, Fort Worth (Cliburn Series), Salt Lake City (Assembly Hall), and Duszniki Zdroj, Poland (Chopin Festival).

Antonio Pompa-Baldi has collaborated with leading conductors including Hans Graf, James Conlon, Miguel Harth-Bedoya, Keith Lockhart, Christopher Seaman, Fabio Mechetti, Daniel Hege, Louis Lane, Pascal Rophé, Grant Llewellyn, and Stefan Sanderling, appearing with the Boston Pops, the Pacific Symphony, the Orchestre Philarmonique de Metz (France), the Orchestre National de Paris-Radio France, as well as the Symphony Orchestras of Fort Worth, Syracuse, Columbus, Charleston, Southwest Florida, and Spokane. Other notable recital engagements include Bologna, Minneapolis, New Orleans, Philadelphia, Pittsburgh, San Antonio, Hartford, Miami and San Juan (Portorico).

A passionate chamber musician, Antonio Pompa-Baldi is a frequent guest at events like the Amelia Island Chamber Music Festival, the Music in the Mountains Festival (Durango, CO), Strings in the mountains (Steamboat Springs, CO), and the Fort Worth Chamber Music Society Series among others, collaborating with such ensembles as the Takacs String Quartet, Avalon String Quartet, Cavani String Quartet, and distinguished colleagues including violinist Elmar Oliveira.

Fulfilling this summer’s engagements, Mr. Pompa-Baldi served as President of the Jury for the 9th International Russian Music Piano Competition in San Jose, CA, and will conduct his annual international workshop at the Napolinova Academy in Napoli, Italy from July 15th through 22nd.

He is also playing a recital for Musica 09 in Belbroughton, England, and the Beethoven Second Concerto with the Orchestra di Toscana in Nancy, France.

Orchestral engagements for the 09/10 season include performances with the North Carolina Symphony, Asheville Symphony, Firelands Symphony, Heartland Festival Orchestra, and Heights Chamber Orchestra. Recital engagements include Portland, OR, Peoria, IL, Fort Worth, TX, and Cleveland, OH.

Mr. Pompa-Baldi’s recordings include an all-Brahms disc (Azica), and a live and unedited recital from his award-winning Cliburn Competition performances (Harmonia Mundi). Since 2002, he has recorded the Josef Rheinberger piano sonatas, as well as the entire piano and chamber music output of Edvard Grieg, in 11 volumes, all for Centaur Records. Soon-to-be-released are an all-Rachmaninoff CD, and the Hummel Sonatas, Volume 1, also for Centaur.

Mr. Pompa-Baldi has been seen and heard many times on French National Television, Radio-France, Ukrainian National television, Cleveland’s WCLV, Boston’s WGBH, and National Public Radio’s “Performance Today”, and appeared in the PBS documentary on the Eleventh Van Cliburn International Piano Competition “Playing on the Edge” which premiered in October 2001 in USA and Canada.

Mr. Pompa-Baldi appeared again on PBS in the documentary “Concerto: A Sense of Self,” featuring his performance of Prokofiev’s Concerto #3 with the Fort Worth Symphony Orchestra and James Conlon. This performance was also seen on French National Television in May, 2003, to commemorate the 50th anniversary of Prokofiev’s death, as well as throughout Europe.

Antonio Pompa-Baldi is a Steinway Artist. He serves as Distinguished Professor of Piano at the Cleveland Institute of Music, and gives master-classes around the world, both in conjunction with his performing engagements, and at summer festivals including Piano Fest in the Hamptons, TCU-Cliburn Institute, Southeastern Piano Festival (University of South Carolina School of Music), Paisiello Academy (Lucera, Italy), and Napolinova Academy (Naples, Italy). He helped found the Academia Manuel Rueda in Santo Domingo, where he also gives regular masterclasses.

Mr. Pompa-Baldi is often invited to judge international piano competitions, and serves as President of the Jury for the International Russian Piano Music Competition in San Jose, CA since 2006. He lives in Shaker Heights with his wife, Emanuela, and their daughter, Eleanor.

Pompa-Baldi • Contined from Page 69

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Originally from Santa Monica, California, Intriligator received numerous awards and accolades as an oboist before turning to conducting. He has also studied piano and violin. He graduated with highest honors in music from Princeton University in New Jersey. He received the first ever 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. 

After college, Intriligator studied conducting in France and Germany for a year while also serving as Assistant Conductor of the Southwest German Radio Symphony Orchestra in Baden-Baden, Germany. He then returned to the US and 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); conductor of the joint orchestra at the College of Saint Benedict and St. John’s University: 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.

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.  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.

Intriligator • Continued from Page 10

Free Concert

Saturday, April 16, 2011, 7:30 PMCheyenne Civic Center

A Sacred Oratorio

This concert of beautiful sacred music is a gift of

The Eleni Demos Robinson EndowmentMessiah is unquestionably George Frideric Handel’s most enduring work and arguably the

epitome of Christian sacred music. While it can be enjoyed by believers and non-believers alike, its theological appreciation presumes at least a basic familiarity with the fundamental teachings of Christianity. The grandeur of its magnificent choruses, the majesty of its virtuoso arias, the transcendence of its sublimely spiritual texts, combine to provide an experience the likes of which is rarely found elsewhere.

The libretto to Messiah was assembled by Charles Jennens from texts of the venerable King James Bible. Although the passing of nearly four hundred years have made the meaning of some of the passages a bit obscure, even difficult, the dignity and grandeur of the words are in keeping with their Author.

Messiah

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Guest ArtistEsther Heideman, soprano

Angelic is the word that has most often been used to describe the silvery, pure, sweet tone of Esther Heideman’s vocal artistry. In 2000, she won the Metropolitan Opera National Council Auditions and the Licia Albanese Competition. In 2001, she made her Metropolitan Opera debut singing Pamina in Mozart’s Die Zauberflöte. These performances were immediately followed by her debut with the New York Philharmonic in Bach’s Christmas Oratorio, and her European debut with the Prague Radio Symphony, singing in Mahler’s Second Symphony.

Ms. Heideman’s career began with her Carnegie Hall debut, singing Handel’s Messiah. Since this time, she has performed with major orchestras throughout the United States and Europe.

In addition to performing the staples of traditional concert repertoire, such as Haydn’s Creation, Mozart’s Cminor Mass, Handel’s Messiah and Orff’s Carmina Burana, Esther Heideman has featured prominently in the premieres of some of today’s most respected contemporary composers. These have included the role of Jenny Lind in Libby Larsen’s opera Barnum’s Bird (Plymouth Music Series, Philip Brunelle), Sister Angelica in The Three Hermits by Stephen Paulus, and The Revelation of St. John by Daniel Schnyder (with the Orquestra del Gran Teatre del Liceu under Sebastian Weigel and Milwaukee Symphony under Andreas Delfs), as well as Deus Passus by Wolfgang Rihm (Rotterdam Philharmonic, Markus Stenz).

Ms. Heideman’s upcoming international engagements include a concert at the National Theater in Beijing, as well as several masterclasses, and at least one recital in Beijing. In the US she can be heard singing Barber’s Knoxville: Summer of 1915 with the Lexington Philharmonic, Mozart’s Requiem with the Spokane Symphony and Dubuque Symphony, Beethoven’s Symphony #9 with the Binghamton Philharmonic, as well as an Opera Spectacular & Best of Broadway concert with the Acadiana Symphony. Esther will also be performing a week of concerts and masterclasses with the University of Wisconsin Eau Claire, and the Chippewa Valley Symphony. Beyond her singing career, Ms. Heideman enjoys teaching lessons and masterclasses and sharing her knowledge and experience with young performers.

Emily Lodine, mezzo-sopran0Emily Lodine is highly regarded

for her impressive musical back-ground. Her artistry, silvery voice and mastery of many styles place her in great demand for both concert and operatic performances. She has appeared with the Chicago Symphony Orchestra, the Philip Glass Ensemble, the Saint Paul Chamber Orchestra, and the symphonies of Omaha, Milwaukee, Detroit, Jacksonville, Indianapolis, Rochester, Toledo and Phoenix. She made her Carnegie Hall debut in Handel’s Messiah under the baton of conductor and composer John Rutter. Equally sought after for operatic appearances, she created the role of Verena Marsh in Stephen Paulus’s opera Summer for Berkshire Opera. Other opera credits include Britten’s The Rape of Lucretia with Lyric Opera Cleveland, Gilbert and Sullivan’s Pirates of Penzance with the Grant Park Music Festival, Puccini’s Madama Butterfly with Anchorage Opera, Mozart’s The Marriage of Figaro with Opera Grand Rapids, and Verdi’s Falstaff with the Pine Mountain Music Festival. Other credits include Messiah with the Wisconsin Chamber Orchestra, Pergolesi’s Stabat Mater with Music of the Baroque, Vivaldi’s Gloria with the South Dakota Symphony, and Verdi’s Requiem with the Wichita Symphony. Emily Lodine graduated magna cum laude from Indiana University with a degree in music theory and is the recipient of a Pi Kappa Lambda scholarship and numerous Margaret Hillis fellowships.

Timothy Jones, baritoneAcclaimed throughout the United

States, Canada, South America and Europe, Timothy Jones is rapidly emerging as one of the leading bass-baritones of his generation. His eagerly anticipated performances combine intelligent musicianship, commanding vocal technique and a unique ability to connect with audiences. He is a champion of opera, the concert stage, chamber music, solo recitals and the premieres of contemporary works.

In the 2006-2007 season Mr. Jones sings Handel’s Messiah with The Cleveland Orchestra, Jake in Porgy and Bess with Opera Pacific, Alidoro in La Cenerentola with the Opera Birmingham, Eight Songs for a Mad King with the Utah Symphony, Haydn’s Lord Nelson Mass with the Jacksonville Symphony, the St. John Passion with the Florida Bach Festival, concerts at the Cactus Pear Festival, a gala concert with the Marshall Symphony,

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Guest ArtistBeethoven’s Symphony No. 9 with the Wichita Symphony, and performances at Michigan State University and the University of Houston.

In the 2005-2006 season Mr. Jones sang Bach’s St. Matthew Passion with the Cleveland Orchestra, Tippett’s A Child of our Time with the Dallas Symphony, Beethoven’s Symphony No. 9 with the Jacksonville Symphony, Verdi’s Requiem with the Portland Symphony (Maine), Jake in Porgy and Bess with Mobile Opera, returned to the Pittsburgh New Music Festival, and performed solo recitals at the University of Houston.

The many highlights of Timothy Jones’ 2004-2005 season included the title role of Don Giovanni with Ebony Opera with conductor Willie Waters, Handel’s Messiah with both the Austin Symphony and the Syracuse Symphony, Crown and Jake in Porgy and Bess with Pensacola Opera, Haydn’s Creation with the Vir-ginia Symphony,Tippett’s A Child of our Time with the Victoria Bach Festival, Judus Maccabeus with the Shreve-port Symphony, Seven Last Words of Christ with the Texas Bach Choir, Beethoven’s Symphony No. 9 with the Appleton Symphony, Verdi’s Requiem with the Navel Academy and Smith College and several unique concerts with the Pittsburgh New Music Ensemble.

In the 2003-2004 season Mr. Jones performed the Mozart’s Requiem with Paul Salamunovich and the St. Petersburg Chamber Orchestra in Rome, Italy, world premiere performances with the Pittsburgh New Music Ensemble of works by composers David Heuser and Jeffrey Nytch, performances of A Sea Symphony by Vaughn Williams at the historical Smith College, Mozart’s Requiem with the New Haven Symphony and the Wichita Symphony Orchestras, Hindemith’s When Lilacs Last in the Door-yard Bloom’d with the New Mexico Symphony, a concert of Gershwin’s Favorites with the Victoria Symphony, Handel’s Messiah with the San Antonio Symphony and Beethoven’s Ninth Symphony with the combined forces of the University of Houston (Moores School of Music) and Rice University (Shepherd School of Music).

He was also featured on programs with the Cactus Pear Music Festival with Jeffrey Sykes, piano, Texas Bach Choir with Daniel Long, harpsichord, Ars Lyrica with Matthew Dirst, harpsichord, Musical Bridges Around the World with Anya Grokhovsky and Elena Nogaeza, piano and The Olmos Ensemble with Warren Jones, piano. In past seasons, Jones has appeared in

productions with the Michigan Opera Theater, the Lake George Opera Festival, Opera Idaho, the Shreveport Opera, Opera Southwest, the Pensacola Opera and the San Antonio Lyric Opera. He has performed leading roles in Le Nozze di Figaro, Cosi fan Tutte, Don Giovanni, Don Pasquale, Madam Butterfly, La Boheme, Falstaff, Macbeth and La Traviata. His English repertoire includes Porgy and Bess, Four Saints in Three Acts, The Old Maid and the Thief, A Midsummer Night’s Dream and Owen Wingrave. In French and German opera, Jones has performed leading roles in Carmen, La Damnation de Faust, Romeo et Juliette, Gounod’s Romeo et Juliette, Die Zauberflöte, Hansel and Gretel, and Die Fledermaus. Jones’ versatility as a performer has also made him a fa-vorite on the recital stage. He made his New York debut with the Chamber Music Society of Lincoln Center in February 2000. His performances have taken him as far as the Pacific Northwest, the Czech Republic, Germany, Mexico, Ecuador, and Canada. He has appeared at the Victoria Bach Festival, the New Texas Festival, the Round Top Music Festival, and the Cactus Pear Music Festival. He has also been heard on National Public Radio’s Performance Today. He frequently collaborates with pianists Brian Connelly, Craig Hella Johnson, Jeffery Sykes, Mark Alexander, and Howard Watkins. A favorite of contemporary composers, Timothy Jones has commissioned and premiered numerous compositions. Works have been composed for him by Robert Avalon, James Balentine, Derek Bermel, Laura Carmichael, John Vasconcelos Costa, Ellwood Derr, Jeffrey Goldberg, David Heuser, Jeffrey Nytch, Doug Opel, and Joe Stuessy. His most recent recording project took him to Sweden for a program of art songs. Jones is a native of Shreveport, Louisiana.

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Guest ArtistCheyenne Chamber Singers

Dr. Jane M. Iverson, CCS conductor and artistic director, in 1991, founded the Cheyenne Chamber Singers (CCS), now in its twentieth season. It is an auditioned group of forty 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, Beethoven’s Ninth Symphony, and the Mozart, Verdi and Brahms Requiems.

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. The group 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, Donald Fraser, and this season, a new piece especially for CCS from Z. Randall Stroope. The Stroope commission was provided by a grant from the Wyoming Arts Council in its American Masterworks Choral grant program. From its inception, the Cheyenne Chamber Singers have been committed to service, excellence and the promotion of new choral works.

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 Excellence 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, 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 thirteen years, and has served as assistant conductor for the past ten 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 Civic Con-cert Band, which performs for summer evening audiences at the amphitheater in Lions Park. He directs 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, the University of Wyoming College of Arts and Sciences recognized Sean as an Outstanding Alumnus. He currently serves as Cover Conductor for the Cheyenne Symphony Orchestra.

Pops Concert

YESTERDAY ELEANOR RIGBY

SOMETHING I AM THE WALRUS LIVE AND LET DIE

IMAGINE STRAWBERRY FIELDS FOREVER

HEY JUDE PENNY LANE

A DAY IN THE LIFE HERE COMES THE SUN SHE'S LEAVING HOME

ALL YOU NEED IS LOVE THE LONG AND WINDING ROAD GOT TO GET YOU INTO MY LIFE

GOLDEN SLUMBERS CARRY THAT WEIGHT

THE END MAGICAL MYSTERY TOUR

SGT. PEPPER'S LONELY HEARTS CLUB BAND WITH A LITTLE HELP FROM MY FRIENDS

LADY MADONNA SAVOY TRUFFLE

MARTHA MY DEAR

MAYBE I'M AMAZED MY LOVE

LET 'EM IN HARD DAY'S NIGHT

I SAW HER STANDING THERE TWIST AND SHOUT

YELLOW SUBMARINE OB-LA-DI, OB-LA-DA

GOOD NIGHT YOU'VE GOT TO HIDE YOUR LOVE AWAY

HELLO, GOODBYE COME TOGETHER

April 30, 2011 • 7:30 pm Jim Owen – Rhythm guitar, piano, vocalsTony Kishman – Bass guitar, piano, vocals

John Brosnan – Lead guitar, vocalsChris Camilleri – Drums, vocals

Cheyenne Symphony Orchestra Conducted by William Intriligator

Beatles Medley Overture arr: Martin HermanPerforming selections from the following:

All songs written by John Lennon, Paul McCartney, or George Harrison

www.ClassicalMysteryTour.com

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Guest ArtistJohn Brosnan (George Harrison)Guitar/Vocals

A resident of London, John is a songwriter and musician who grew up in Melbourne, Australia. He studied classical piano performance and theory at the Conservatorium of Music before switching to guitar, which has since become his main instrument. His first professional job came at age 18 when he played in an orchestra that accompanied a musical theater production. He then spent the next decade playing in original bands and achieved some minor chart successes in Australia, UK, and the United States. John first began performing the role of George Harrison in 2000. Since then, he has toured extensively throughout the U.S., Europe, Scandinavia, the Middle East, and Asia with various Beatle productions. In addition to performing with Classical Mystery Tour, John runs a music and film production company in the UK.

Chris Camilleri (Ringo Starr) Drums/Vocals

Born and raised on Long Island, New York, Chris Camilleri had a convenient drum teacher; his dad. He started listening to Beatles records at a young age, and for many years played drums and sang along to the recordings. Gradually, Chris gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the interna-tionally-renowned Beatles cover band Liverpool, which still reunites to perform at the Fests For Beatles Fans (formerly Beatlefest). Chris has played drums for a variety of touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz, Joe Walsh, and other Beatles-era bands. He became a good friend and musical associate to Harry Nilsson (who was a contemporary and close friend to all the individual Beatles). In addition to The Beatles, his musical influences include Jethro Tull, Genesis, ELP, and David Bowie. When not playing music, Chris has an active commercial and voice-over career.

Jim Owen (John Lennon)Rhythm Guitar/Piano/Vocals

Jim Owen was born and raised in Huntington Beach, California. He gained rich musical experience from his father, who played music from the classics for him on the piano and from his extensive library of recordings by the great classical artists. Owen began studying the piano at 6, and won honors in various piano performance competitions through his teenage years. He was 8 years old when he first heard The Beatles, and promptly decided to take up the study of the guitar. His first professional performance as a Beatle was at 16. Then, at age 18, he began touring inter-nationally with various Beatles tribute productions, visiting Japan, Korea, China, Canada, Mexico, and much of South America. In 1996, Owen began working on his idea for a new show with orchestra. It has long been his dream to share with the public live performances of some of the greatest music ever written and recorded. Classical Mystery Tour was the result. Most recently, Jim became associate producer of the dance musical Shag with a Twist, which premiered in Los Angeles in 2005, and debuted in Las Vegas July, 2006.

Tony Kishman (Paul McCartney) Bass Guitar, Piano, Vocals

Singer-songwriter Tony Kishman was born in Tucson, Arizona where he began his musical career in the early 1970s.  Although he had been playing guitar for a number of years, it was not until age 19 that Tony started performing seriously. Kishman’s early influences included Wishbone Ash, Bad Company and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band perform-ing Top 40 as well as originals. Starting in 1979, Kishman played bass and guitar for six years as Paul McCartney in both the national and interna-tional tours of Beatlemania. He then went on to perform in Legends in Concert and produced shows that ran in Las Vegas and Lake Tahoe. He joined the classic supergroup Wishbone Ash for a tour of Europe and the recording of the group’s 18th album.

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Season Ticket HoldersMr. & Mrs. Steve AchterMr. & Mrs. Christopher AdamoMs. Darla AlbrightMr. & Mrs. Garry Alkire William & Betty Sue AllenDana & Carol AndersonMr. James AndersonMs. Janet AndersonTimothy AndersonJeremiah Sandburg & Janet Anderson-RayDonna AngelJim & Lynn ApplegateMary ArcherMs. Lori ArnoldJohn & Dorris AshleyFred & Linda BaggsSteve & Tina BahmerMrs. Rosalyn Baker Mr. & Mrs. Todd BakerMs. Virginia BaldwinMs. Terry BallMr. John BalserMrs. Miriam BantaMr. Kevin Daugherty & Ms. Stephanie BarkerGeorge & Kay BarnesBill & Karen BatesDr. & Mrs. John BeckmanBrian BelknapMs. Erin Benskin William & Patricia BenskinRobert & Delores BergMr. William BesselievreMs. Kay Lynn BestolCol. & Mrs. Robert J. BezekMs. Kathryn BibbeyC. BigelowDr. & Mrs. Darryl BindschadlerJeannette BishopJohn & Marie Rustan BishopBetty BittsJared & Cheryl BlackJan Blair Bruce & Vicki BloethnerMrs. Jacqueline Brimmer BoiceTimothy & Julie BolinMr. Donald BondurantMs. Marion BoveeMs. Janis BoydComo BoyleMs. Elizabeth BradyMr. & Mrs. Rod BrandMs. Marilyn BresnahanHon. & Mrs. Clarence BrimmerDr. & Mrs. Walt BromenschenkelMr. & Mrs. Christopher BrownDonna Martin & Randy BrunsMr. & Mrs. Charles BurkeMr. Ken BurkeMs. Johnnie BurtonMs. Carmel BushMr. & Mrs. David BushMr. Gerald BushelmanMs. Kathryn C. ButeauMs. Peg ByrdJerry & Connie CalkinsMr. Jim CampbellMr. & Mrs. George CardonJeff and Lynne CarltonMr. & Mrs. Doug CarrBrad & Harriet CarrollScott & Sharon Catellier Jane CatonBob & LaDonna ChalstromMark & Marta ChencharCheyenne Light, Fuel and Power

Cheyenne Regional Medical Center Cheyenne Women’s ClinicHarold & Karen ChristensenDon & Jackie ChristiansonBob & Dee ClaryJohn C. & Esther L. ClayMr. & Mrs. Dennis CoelhoMs. Susan CohenFred & Brenda ColeMs. Andrea G. CollinsPatrick & Marilyn CollinsChris & Jana ConineEdith CookLouise CopelandMs. Nancy CornishJoAnn W. Cottam Mr. & Mrs. Arnold CoxMr. Richard CoxDavid Crane David & Kathy CromleyMr. Brandon Curcio Ms. Diane CurreyMs. Carmen CurtisBud & Claire DavisLarry Mellick & Carole Davis Kelly & Monica Davis Monty & Wanda Davis Rick & Ibby DavisMr. & Mrs. Don Day, Sr.Sandy DearingerMrs. L.H. DeaverJohn & Jean DenhamJoe & Donna DereemerDr. Don & Lori DickersonDr. & Mrs. Dirk DijkstalRobert & Annette DillardJim & Ray DinneenMrs. Marietta DinneenDr. & Mrs. Joseph DobsonMr. & Mrs. Nicholas DodgsonMr. & Mrs. Ray DoerscherDr. Jim & Barbara DolbyMs. Sandra DonovanMs. Barbara DorrMichael & Shanna DorroughFrank & Mary DrakeMr. & Mrs. Perry DrayMs. Diane DrebinMr. William DuboisMr. & Mrs. Nicholas DudashMr. Gregory C. DyekmanJohn & Carolyn EgglestonMr. & Mrs. Andrew EmrichMs. Mary Elise EnglerJohn & Ann ErdmannMr. & Mrs. Ken EricksonMr. Joe & Dr. Beth EvansPaul & Karen EverettCatherine Fagan Dr. & Mrs. Paul FanningWendy Fanning Mr. & Mrs. Bob FechtMarcia FellerMs. Jan FennellyMs. Giovonnia FergusonMrs. Jacqueline FerrallMr. & Mrs. Randy FetzerTim & Marsha FieldsMr. Nathan FitzsimmonsMr. & Mrs. Bruno FlaimBrenda FlathMrs. Dorothy Flournoy Dorothy FlynnMr. & Mrs. Steven Fogle Bob & Beverly FontaineMr. & Mrs. Jim ForbesMr. David Foreman

Mr. Mike FossMs. Fran FoxJohn & Ronda Frederici Ken FrederickHarry & Mary Ann FritzLinda Frost Ms. Cora FutaMr. Richard GageMs. Lucy GardnerJim & Sandi GaulkeMs. Jane GeddesMr. Rick GeringerRev. & Mrs. Richard GilbertMr. John A. GillenwaterMr. Stephen GillilandMr. & Mrs. Dwight GiorgisMary GishMarlin & Janet GlasnerKeller & Miweeze GleasonMrs. Mary Ann GodfreyBarb & Mark GorgesRichard & Sharon GossMs. Carol GrahamMrs. John GramlichEd & Dee GrantGrant FarmsMs. Amber GreenRev. & Mrs. James GreenJerry & Kelli Green John & Denise GreenMarty GreenBrian A. GreeneMrs. Katherine GreeneMarilyn & Mary GreeningDale & Barbara Gregory Mr. & Mrs. Gary GregoryMr. & Mrs. Noel Griffith, Jr.Ms. Fern GullettMs. Mary GuthrieGary & Alisa GwinnMr. & Mrs. Patrick HackerSloan & Anna Marie HalesMr. William Powell HaleyMr. & Mrs. Kerry HallCarl & Laura HallbergMr. Rod HallbergMr. & Mrs. Jay R. HalleJean HalpernDr. Darrel & Joanne HammonJohn & Liv HanesMrs. Joyce HanksMs. Eleanor HansonJames & Mary HardwayBill & Barbara HarrisDr. Richard H. & Helen J. HartHonorable Gary HartmanStan & Mary HartmanDavid Hartmann Ms. Betty HaselmanMs. Vicki HauseMr. & Mrs. Mark HawkinsMrs. David HayCraig & Heidi HealdGene & Andrea HeaterJennifer Heater Ms. Kira HeaterDavid & Jeanne HedineKen & Gayle HeinleinMr. & Mrs. Bill HelmsDennis & Mary Kay HemmerJo HenningGlenn & Kari HerbstMr. & Mrs. Wayne HerrMr. & Mrs. Carl HerrmannMarcia HessMr. Jeffrey HickmanDr. & Mrs. Dan Hinkle

Mr. & Mrs. Warren HodgesMs. Opal HoppeStanley Clapp & Theresa HopperDr. Joseph & Carol HoramMs. Judith HosafrosTed & Nina Belle HoyDr. Galen & Mary Kay HuckMr. & Mrs. Thomas HudsonMr. & Mrs. Richard HughesDawn Joan Kaiser & Sam HundleyMrs. Debbie HunkinsMr. & Mrs. Bill HuntMr. Randy HurdThomas & Lynn HutchingsPete & Chloe IllowayKeanon A. Ingram, IIIJohn & Lynne IversenDrs. Don & Jane IversonRichard & Pam Ivey Mrs. Gerald IversonJeff & Wendy JacobyRobert & Kathleen JanssenCarol Jerger Jerry & Kay JessenMr. & Mrs. Tim JoannidesBill & Teresa JohansenMr. & Mrs. C. Robert JohniganHonorable Alan JohnsonDavid & Pat JohnsonDrs. Amy Gruber & Jim JohnsonMr. & Mrs. Wayne JohnsonDr. Theodore JohnstonMr. & Mrs. Charles W. JohnstoneMr. & Mrs. Greg JonesDr. & Mrs. Victor JordenMr. & Mrs. Mike JunikerEarl & Carol KabeisemanRev. & Mrs. Max A. KaserMs. Donna KasselHon. & Mrs. Richard KaysenFrancine & Richard KeanMr. & Mrs. Dan KehnMs. Virginia KelsoJohn & Lottie KempMr. Kim KenneasterMartin & Maria KidnerMr. & Mrs. David KilpatrickMr. Phil KinerMs. Jackie KinghamMr. Tim KingstonMr. & Mrs. Alan KirkbrideMs. Mae KirkbridePatrick & Karen KitchensLinda KjackRussell & Karyn KnutsonRon & Cheri KoehnMrs. Evelyn KorberMs. Cheryl KoskiDon & Mo KouglJuergen Wegener & Stine KraeftBetsy KrahenbuhlDianne Baldwin & Sarah KrankPaula Gordinier & Tom KreiderJames & Debbie KretzschmarMrs. Elizabeth LackJames & Carol LambertMs. Patricia LangMrs. Marilyn LanhamDr. & Mrs. Robert LanierMr. and Mrs. Darryle Laping Mr. & Mrs. Rod Larson

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Season Ticket HoldersDr. & Mrs. Donald J. LawlerPeter & Barbara Laybourn Fred & Judy LebsackBob & Nelda LeeMrs. Elizabeth LeeMr. & Mrs. Don LegerskiMs. Bess LeichtweisMr. R. Warren Lemerich Tony & Cindy LewisMr. & Mrs. Merle LiqueVictor & Anita LisekMs. Imelda LittleMr. & Mrs. Gary LongRichard & Maralene LongfellowMr. & Mrs. Brian LovettMs. Kathie LowryCarol & Bill LoyerAnne Lucas Greg & Liz LuceMichael & Chris LukeMr. & Mrs. Doran LummisMr. & Mrs. Bryce LundellMike & Lana MabeeMr. & Mrs. David MaceyMrs. Eleanor D. Mac MillanMichael & Emily MadridCarol Rupprecht & Amy MahaffyJim & Monica MallonBobby & Mary Lou MarcumMr. & Mrs. Robert MarekRobert & Linda MarkoMs. Anita MartinezMr. & Mrs. Tom MasonPatricia MathesonDaniel & Betty Matuska Dr. & Mrs. Richard McCleeryDr. & Mrs. Ted McCoyCol. & Mrs. David McCrackenLinda McDonald Mr. David McFarlandMs. Anne McGowanMr. & Mrs. Martin McGuffeyPat & Jan McGuireMr. and Mrs. Dan McKinleyMrs. Eileen MeierFred Emerich & Keren Meister-EmerichMs. Mary MelcherVanelda MellblomEllen MellottAnn MelvinRick & Cathy MemmelPeter H. & Bettina M. MerlinMr. Stephen MesserDr. Robert Monger & Ms. Jennifer MettlerMs. Susan MetzgerMs. Reneé MiddletonMs. Dorothy Middleton-OwensMr. & Mrs. Cliff MikesellDr. & Mrs. Benjamin MillardMr. & Mrs. Adam MillerSue MillerJohn & Lori MillinDr. William Runyan & Ms. Myra MonfortMs. Brandi MongerDave Shimerka & Shawni MontgomeryDr. & Mrs. Michael More Elaine Moore Ms. Johnna MorganMrs. Angie MorrisonMr. & Mrs. Richard MorrisonMr. Allen MorrowMr. Frank E. Morrow

Bill & Deanna Morton Ms. Lois MottonenMaranatha MulhernMrs. Barbara MurrayJames & Judith MyersJoseph Dunlap & Eulalia NarvaisKeith Westhusing & Jacalyn NeelyCharla & Robert NelsonMrs. Elaine NelsonMr. Robert NelsonMs. Alice NewsomeMs. Helen Nicodemus Bob & Jan NimmoToma NisbetWalter & Dorris NoakesMilfred NolanGeorge NordinMr. Gary NorwoodMs. Sharon NovickDrs. Carol Frost & Eric NyeMr. & Mrs. Kurt NyfflerMrs. Elizabeth OakesMrs. Warren J. OakesMs. Helen OatesMr. Francis O’ConnorDr. Dimiter OrahovatsMrs. Helen OrrMr. & Mrs. Harry OsbornMr. Jim OsterfossMrs. John OstlundJohn & Lynn OwenMs. Barbara OwensJudith OwensMr. Darwin PaceFrank Schapiro & Judy PagelElena Oggero & Guido PagnaccoMr. & Mrs. Gene PartchMs. Linda PattersonMs. Patricia PeoplesMrs. Julie PeralaMs. Carol PerryMs. Ineke PetersGary & Sue Peterson Dr. & Mrs. Steven O. PetersonMs. Dayle PetrilloMarilyn PettitMs. Elizabeth PhelanJohn & Judy PhillipsRobert & Ellyn Anderson PhillipsMs. Louise Pickard Marta & Mariusz PieczalskiMike & Shaela PinterDarla PotterMr. & Mrs. Jack PreissMrs. Ruby PrestonMr. & Mrs. Ron RabouCindy & Charlie RandoMr. & Mrs. Jack RatchyeWini & Ron RatzMrs. Jean RaylW. Carlton & Shri RecklingMrs. Walter RecklingJim Brausch & Sandra RectorAlice ReeseEileen RemsbergBrian & Tonya RentnerDr. Harlan RibnikMrs. Rozella P. RiceMr. Greg RichMr. Jack RichardsFred & Jennifer RifeMr. & Mrs. Wayne RoadsMr. Philip RobinsonShirley Garrett Robinson

Ms. Toni RogersMrs. Robert M. RoofMs. Carol RooneyMr. & Mrs. James RoseTony & Meg Rose Jack & Patty RosenlofSteve & Debbie Rotroff Rev. & Mrs. Eugene RowbothamMrs. Catherine S. RoweMs. Mary C. RoybalMs. Sherri RubeckBob & Barb RueggeBryan & Edith RussellMr. Lynn E. RustDorothy SalleeMr. Don SammonsMr. & Mrs. Richard SanfordTom & Eryn SatterfieldMrs. Justine SaundersDiana Schafer Mr. George ScherrMs. Beth M. SchieckStephen & Christine SchmergeMr. & Mrs. Michael SchmidMr. & Mrs. Douglas SchmidtMs. Kristine SchmidtMs. Debora SchneiderMr. & Mrs. Bob SchofieldMr. & Mrs. Don SchraderMrs. Lorene SchraderMr. & Mrs. Alan SchultzMr. & Mrs. Donald SchultzMr. & Mrs. Craig SchulzWilliam & Mary SchwemHelen SchwichtenbergGary ScottSecurity First BankTom Ricord & Kathie SeldenJoseph ShaferMr. Carroll SharrattFran & Jo Goddard ShiveBo & Barbara ShortMarilyn Siemens Ms. Betty SiltzerMrs. Martin SingkoferChuck & Karin SkinnerMs. Louise SkylesClark & Ann SmithDr. & Mrs. Gerald L. SmithMs. Phyllis M. SmithKara & Katrina SmithTim, Sue & Alisa SmithDaniel & Donna SneskoMr. Peter SokoloskyRobert & Marge St. ClairMrs. William W. St. ClairJon & Shirley StammMr. & Mrs. Dennis SteeleMr. & Mrs. E. Lee StevensKim StevensMr. & Mrs. Mike StoneHelen StonerKaran Dumont & Linda Stone-SoukupMrs. Ruth StoreyMr. & Mrs. Herbert StoughtonMs. Connie StrayerMr. & Mrs. Tom StuckeyCarl & Estelle SummersTimothy and Elaina SummersMr. & Mrs. Robert SundinDrs. Robert Prentice & Sandra SurbruggLaura & Sarah SuttonMrs. Dell T. SwainsonJerry & Pat SwanRobert & Linda Swift

Mr. & Mrs. David SzottMs. Betsy TaggartMr. & Mrs. Richard E. TashnerMr. Joseph A. TelepMs. Liane J. TerrillMrs. Frank ThelenDr. Shauna McKusker & Geoff ThompsonMs. Thyra ThomsonDr. Andrea ThorntonMs. Sharon TigheJeff & Becky TishBobbie Parrish & Melvin TolandHarv & Marilyn TulkKen & Dell TunnicliffMs. Barbara TurkMr. & Mrs. Ronald TurkingtonFloyd Bishop & Dorothy E. TyrrellLarry & Nancy UnoMs. Kathleen Urban Mr. & Mrs. Stephen Van CourtRon & Lavelle Van VoastMs. Cindy VandewarkPhillip & Carol VelezTed & Maria VredenburgMr. David VyainMr. & Mrs. Mainard WackerDr. Kay WagnerDr. Bob & Lorna Walkley Sharon Walter Mr. & Mrs. Bill WaltersMs. Janet WamplerLindsey WardDr. Taylor Haynes & Beth WassonDr. & Mrs. Eric WedellMs. Kelly WeidlerLarry & Elaine WengerMr. & Mrs. Edward WeppnerDiane & Dan WhiteMr. & Mrs. Craig WhiteheadMs. Janet WhiteheadMr. Ralph R. WhitneyBill & Kim WhittleMr. Richard WiederspahnMs. Janet L. WilliamsDr. & Mrs. Russell Williams, Jr.James & Paula WillmsMs. Andree WilsonKenneth Barrow & Mary WilsonMs. Sharon WilsonMr. Tom WilsonMike & Anna WingertT. Robert & Doris WittkornDonna WoitasezewskiMr. & Mrs. Larry WolfeMs. Anne WolffMs. Betty W. WoodMr. Brian WoodMr. & Mrs. James WoodmanMs. Jean WoodsWanda A. Wycoff Gochenour & Raymond A. WycoffGennaro YannacconeRex Yocum Rusty & Anne YocumMr. & Mrs. Alvin YoungJennifer Zampogna Kasia & Zee ZarzyckiJerry & Barbara Zellars Angela ZivkovichDoris M. ZolnoskiDerek & Melanie ZuverJohn & Lynn Zuver

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Cheyenne Symphony FoundationDon’t wait until you get to Heaven to hear beautiful music!

If you treasure the music of the Cheyenne Symphony Orchestra, please join the efforts of those who are working to ensure the Symphony’s grand performances will continue to be heard now and into the future. Please consider making a gift to the Foundation’s Permanent Endowment Fund. The Foundation Board is seeking to create an Endowment totaling $2,000,000 or more to provide grant support for the Cheyenne Symphony Orchestra. The earnings realized from the Endowment Fund are used to support Orchestra performances and its educational outreach programs. Since its reorganization in 1998, the Foundation’s Endowment has grown from $130,000 to more than $1.6 million. Only a portion of the Endowment earnings are distributed each year; the rest is reinvested for future growth. Because of the support of many caring donors, the growth of the Foundation’s Endowment has enabled the Foundation to grant critically needed funding. Such wonderful support is made possible solely through the generous gifts from those who love the Symphony’s music.

Your gift, whether it be in the form of cash, stocks or bonds, through your will, living trust or other options, will help assure the viability of the Orchestra, and can help you realize significant tax savings.

The Foundation will be pleased to work with you to set up the transfer of any asset you choose to gift. Gifts of $1,000 or more will be formally recognized on the Foundation’s “Sound Investment” donor recognition wall display located in the Cheyenne Civic Center lobby.

At the time of publication, the following Foundation supporters, through their generous gifts, have helped provide a lasting musical and educational legacy now and in the future. The Foundation thanks these visionary individuals. For more information on how you can make a difference and help the Cheyenne Symphony Orchestra by gifting to the Foundation, call the CSO office at 307-778-8561 or contact any Foundation Board member.

Maestro ClubGifts of $100,000 and above

Roma and Joe Gronenthal TrustsMrs. Irene Adamson White Estate

Grand Arpeggio ClubGifts of $20,000–$99,999

Hedy and Attilio BedontAttilio W. Bedont Family Trust

Mark Carson FamilyCredit Bureau Services of Cheyenne

In Memory of Klair FowlerJohn and Liv Hanes

Safecard Services, Inc.

Symphony ClubGifts of $10,000–$19,999

Mrs. Jacqueline FerrallDr. Sloan and Mrs. Anna Marie Hales

Will and Judy KallalJohn and Dana MetzkeJohn and Mary Ostlund

Mr. and Mrs. Warren J. Oakes Walter Scott Foundation

Willard H. Pennoyer, MDThe Wyoming Arts Council through funding from the

National Endowment for the Arts and the Wyoming State Legislature

Philharmonic Club Gifts of $5,000–$9,999

Anonymous FriendMrs. Phyllis Atchison-Equality Angus Ranch

In Memory of Patricia Baggs, from her many friendsDr. and Mrs. R.J. Davis

Etchepare Family FoundationJim and Jane Forbes

Mr. and Mrs. James A. HelzerInvestment Brokerage Group, Raymond JamesFinancial Services Charitable Partners Program

In Memory of Mary MeadIn Memory of Warren J. Oakes, from his many friendsMrs. Warren J. Oakes, in Memory of Warren J. Oakes

Drs. Robert Prentice and Sandra Surbrugg,Cheyenne Skin Clinic, PC

Mrs. Dorothy SchwartzIn Memory of Mr. William W. St. Clair,

from his many friends

Chamber ClubGifts of $2,500–$4,999

Fred BaggsDr. and Mrs. Jeff Carlton

Friends in Memory of Albert HelzerDr. and Mrs. Donald Hunton

Mrs. Herbert Read, in Memory of Herbert W. ReadKeith and Bobbi Richardson, Sierra Trading Post

Mr. and Mrs. William W. St. Clair

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Cheyenne Symphony FoundationEnsemble Club

Gifts of $1,000–$2,499Col. (Ret.) Gerald M. and Kathleen K. Adams

Anonymous FriendAnthony G. and Barbara Andrikopoulos

Jim and Lynn ApplegateDr. and Mrs. L.W. Barlow

In Memory of Mrs. Sally Barlow, from her many friendsFather Carl A. Beavers

Jacqueline Brimmer BoiceArline Cohen-Harris

Corning Incorporated Foundation Matching Gift Program

Mrs. L.H. DeaverFrontier Refining, Inc.

Mrs. Lorraine Garvalia, in Memory of Fred GarvaliaDoris Gronenthal, in Memory of Jack and Gary

Hirst Applegate, P.C.Theodore and Nina Belle Hoy

Joan and Dick HughesPete and Chloe Illoway

Dr. and Mrs. William T. KaneGeorge and Mary McIlvaine

Dr. and Mrs. Larry MeuliMrs. Warren J. Oakes

Duane and Joan OlesenSuzanne and Jack Preiss

Teno RoncalioMike and Tori Rosenthal and family

Lillian RuskLynn E. Rust, in Memory of Kristi L. Rust

Barbara and S. Frederick SeymourMr. and Mrs. Robert A. See

Drs. David and Martha SilverMrs. Tina St. Clair,

in Loving Memory of Mr. William W. St. ClairKiyo Suyematsu,

in Memory of Ellen Crowley SuyematsuMrs. Dorothy Schwartz, in Memory of Marvin Schwartz

Taco John’s InternationalUnion Pacific Resources, Inc.

David and Dorothy Weaver Foundation, in Memory of William W. St. Clair

Eric and Maida WedellEdna White

Janet WhiteheadJames and Paula Willms

Wyoming Community FoundationLawrence and Jennifer Wolfe

Concerto ClubGifts of $500–$999

Applebee’s Neighborhood Grill and BarSally F. Barlow, in Memory of Dr. L.W. Barlow

Susan CohenDon and Vanda Edington

Dr. John and Donna EsmayKen and Yolanda Erickson

John HeywoodJoan and Dick Hughes,

in Memory of William W. St. ClairDr. Robert and Elizabeth Lanier

Dr. and Mrs. Richard G. McCleeryMrs. Glenn Parker

Dick and Betty StandifordMrs. Betsy TaggartThyra G. Thomson

Union Pacific ResourcesU S WEST Foundation Matching Gift Program

Friends in Memory of Van WinkleWyoming Tribune Eagle

Overture ClubGifts up to $500

Billie LM Addleman and Brandi MongerAnonymous FriendAnonymous Friend

Mrs. Marjorie Appleton,in Memory of Dr. L.W. Barlow

Mrs. Sena AlbeeJames and Nadine Amen

Dr. Rodney and Mrs. Sue Anderson,in Memory of Dr. L.W. Barlow

Jim and Lynn Applegate, in Memory of Dr. L.W. Barlow Mrs. Glen Bachman

Fred Baggs and Linda Wilson, in Memory of Dr. L.W. BarlowFred Baggs and Linda Wilson,

in Memory of Mrs. Viola WallaceRichard and Susan Balzer

Dr. and Mrs. James W. BarberMr. and Mrs. Henry L. Barlow

Dr. and Mrs. L.W. BarlowMrs. O. Wendell Bassford

Bob and Jeanne BatesJohn and Tsai Beckman

Mr. and Mrs. William BesselievreKathryn Bibee

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Cheyenne Symphony FoundationOverture Club, Continued from Page 31

Stewart BlunkJacqueline P.B. Boice, in Memory of Dr. L.W. Barlow

Renee A. BoveeDiane C. Boyer

Maurice Brown, Town & Country Supermarket LiquorsLane Buchannan

Mrs. Charles D. Carey, in Memory of Dr. L.W. BarlowMike and Addie Ceballos

Robert and LaDonna ChalstromPatricia Chitty

Mr. Chris ChristensenSusan Cohen, in Memory of Mrs. Bette Cohen

Susan Cohen, in Memory of William J. Dinneen, Jr.Arline Cohen-Harris, in Memory of Dr. L.W. BarlowArline Cohen-Harris, in Memory of Dr. Jerry PrestonArline Cohen-Harris, in Memory of Barbara Johnston

Patrick and Marilyn CollinsMrs. Maxine CooperRhoda M. CramerMrs. Paul CraneEllen Crowley

Kevin and Paulette DaughertyDr. and Mrs. Rick Davis,

in Memory of Dr. L.W. BarlowBrenda and William Dean

Friends in Memory of Clem DeaverDonna W. Dereemer and the Dereemer Family,

in Memory of William J. Dinneen, Jr.Mrs. L.H. Deaver in Memory of Dorothy M. Johnson

Travis DetiBill and Marietta Dinneen,

in honor of Fred Baggs and Linda WilsonBill and Marietta Dinneen,

in Honor of Dr. Sloan and Anna Marie HalesDowntown Development Authority

Mr. William Dubois, III Equitable Life Assurance Society

Dr. and Mrs. John Esmay,in Memory of Henry Tsumagari, M.D.

Mr. and Mrs. David EvansMrs. Jacqueline Ferrall, in Memory of Glenn NeilsenMrs. Jacqueline Ferrall, in Memory of Olive Neilsen

Rick FloodBonnie Fransen

Gregory GecowetsMr. and Mrs. Robert Gleif

Jack and Donna GlodeLakhman and Pravina Gondalia

Mrs. John B. GramlichGreg and Patti Greenlee

Dr. Amy Gruber

Joe and Phyllis GruberMary Bell Guthrie

Byron and Beverly HackerStan and Mary Hartman

Jim and Marcy HeadstreamJames A. and Mary Helzer, in Memory of Attilio Bedont

Dan and Judy HinkleCarol A. Holland

Mrs. Bernie HortonMr. and Mrs. Thomas R. Hudson

Joan and Dick Hughes, in Memory of Dr. L.W. BarlowJudge and Mrs. Alan B. Johnson

Dorothy M. JohnsonCol. and Mrs. Merle JohnsonWayne and Patricia JohnsonDr. and Mrs. Ted Johnston,

in Memory of Dr. L.W. BarlowMr. and Mrs. Tom Jones

Mary Ellen Jurenka, in Memory of Dr. L.W. BarlowFrank and Mary Ellen Jurenka

Dr. and Mrs. William T. Kane, in Memory of Jim OrrSteve and Nancy Kaufman

Maxine KeefeRobert and Sandra Kidd

Mr. and Mrs. Alan KirkbrideMr. and Mrs. Dan KirkbrideDr. Duane and Joanna KlineDr. Duane and Joanna Kline, in Honor of Barbara Owens

Robert and Eva KnightCol. (Ret.) and Mrs John Konopisos,

in Memory of Dr. L.W. BarlowMrs. Evelyn B. Korber

Rose KryslMary J. Kuehster

April Brimmer KunzBrent Kunz

Marcy and Keith Lamberson Mr. and Mrs. James Lambert

Mr. and Mrs. Samuel F. LaPorteDr. and Mrs. Donald J. LawlerDr. and Mrs. Donald J. Lawler, in Memory of Attilio Bedont

Alma LjunglinDr. and Mrs. Richard Loughry

Dr. and Mrs. Ted McCoy,in Memory of Dr. L.W. BarlowMcGee, Hearne & Paiz, LLP

Mrs. Howard MellblomArt and Mildred Mercer

Dr. Arthur and Carol Merrill

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Cheyenne Symphony FoundationOverture Club, Continued

John and Dana Metzke, in Memory of Jim OrrJohn and Dana Metzke, in Memory of Julie Diller

John and Dana Metzke, in Memory of William G. Walton John and Dana Metzke,

in Memory of Mrs. Ruth PowersJohn and Dana Metzke,

in Memory of Mrs. Hedy BedontJohn and Dana Metzke, in Memory of Angela Bird

Heather MichaelsPeg and R. Walter Miller

Peg and R. Walt Miller, in Memory of N. June ThodeMr. and Mrs. John Moran

Mr. and Mrs. William C. NicholsPhil Noble and Lynn Birleffi

Elizabeth Oakes, in Memory of William J. Dinneen, Jr.Ed Patrick, in Memory of Wendy E. Baur

Robert PhillipsPeter and Delores Poremba,

in Memory of Dr. L.W. BarlowDr. and Mrs. Paul J. Preston

Louise RaimondiE. Thomas Ricord and Kathie Selden

Wayne and Gabriele RoadsMrs. Selma Rosenberg

Avis RostronMr. and Mrs. Robert Rowland

Mary J. Rugwell-Richard and Jean RussellFrances Sailor

Mr. and Mrs. Tom Sansonetti

Mr. Nels SostronMr. and Mrs. J.H. SchalchGeorge and Laura Scherr

Mrs. Kay SchliskeJennifer R. Schutzenhofer

Charles and Susan SeniawskyEmily Sieger

Smith & Wesson, in Memory of Mrs. Hedy BedontBill and Vickie Stark

Mr. and Mrs. William W. St. Clair, in Memory of Dr. L.W. Barlow

Mrs. Ruth Storey, in Memory of Dorothy JohnsonMr. and Mrs. Herbert Stoughton

June ThodeThyra Thomson, in Memory of Forest Stewart Blunk

Walter and Patricia ThrogmortonLeo Tsimbinos

William and Wavis TwyfordG. John and Margaret VetaDennis and Dianne Wallace

Robert and Pauline WareLeigh West

Leigh West, in Honor of Mark Russell SmithLeigh West, in Honor of Betsy Taggart

Leigh West, in Honor or Stephen AlltopAlvin Wiederspahn and Cynthia Lummis,

in Memory of Attilio BedontJanet L. Williams

Dr. and Mrs. Russell Williams, Jr.Richard and Rhoda Cramer Wright

Cliff and Karen Zeller

Cheyenne Symphony Foundation Board

Dana Metzke, PresidentKen Erickson, Vice President

John Metzke, TreasurerSusan Cohen

Brandi Monger Guido Pagnacco

Tom Stuckey

Cheyenne Symphony Foundation MissionThe Cheyenne Symphony Foundation, a non-profit corporation, is operated exclusively for

the benefit of the Cheyenne Symphony Orchestra. The Foundation’s purpose is to establish a permanent endowment to provide grant support to ensure the continuance of the Cheyenne Symphony Orchestra.

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Cultural Arts CalendarSeptember 201024 Tuna Fish & Peanut Butter Classic Conversations Laramie County Library25 CSO Concert—Romantic Rachmaninoff 24-26 CLTP—The Sound of Music— 30 Mary Godfrey PlayhouseOctober 20101-3 CLTP—The Sound of Music— Mary Godfrey Playhouse2 Cheyenne Civic Center—Michael Bolton2 Cheyenne Concert Association—Redhead Express7-10 CLTP—The Sound of Music— Mary Godfrey Playhouse10 LCCC Music Faculty Recital— St. Christopher’s Episcopal Church14-17 Extremities —LCCC Playhouse 20 Opera Colorado—Mary Godfrey Playhouse 22 Tuna Fish & Peanut Butter Classic Conversations Laramie County Library23 CSO Concert—Triumphant Tchaikovsky 22-23 Extremities —LCCC Playhouse24 LCCC Choral Awareness— St. Mark’s Episcopal Church 26 Music that Goes Bump in the Night IV— Cheyenne Civic Center 28 Fallin’ for Jazz—Cheyenne Civic CenterNovember 20102-3 Cheyenne Civic Center—Stomp12 Cheyenne Civic Center—Bryan Adams12-14 CLTP—The Odd Couple—Mary Godfrey Playhouse14 Capital Chorale—Director’s Choice— Community House16 Cheyenne Civic Center—Gordon Lightfoot 18 Los Angeles Guitar Quartet —South High School19-21 CLTP—The Odd Couple—Mary Godfrey Playhouse21 Chamber Singers—Rachmaninoff Vespers— St. Mary’s Cathedral 20 Symphony Ball—Kaleidoscope Little America Grand BallroomDecember 2010 2-4 “I Have a Dream...”—LCCC Playhouse4 LCCC Harp Ensemble—St. Mary’s Cathedral— Music for the Virgin of Guadalupe 3-5 CLTP—A Christmas Carol—Historic Atlas Theatre 10 LCCC Holiday Gala Concert — Cheyenne Civic Center 10-11 “I Have a Dream...”—LCCC Playhouse10-12 CLTP—A Christmas Carol—Historic Atlas Theatre 12 Christmas Choral Festival—Cheyenne Civic Center 16 Cheyenne Concert Association— Leon Williams’ NoelJanuary 201114 Tuna Fish & Peanut Butter Classic Conversations Laramie County Library15 CSO Concert—Rhapsody in Blue 21-23 CLTP—A Streetcar Named Desire— 28-30 Mary Godfrey Playhouse

February 201111 Cheyenne Civic Center—Air Supply13 LCCC Music Faculty Recital— St. Christopher’s Episcopal Church 18-20 CLTP—War of the Worlds Radio Drama— Historic Atlas Theatre 25 Cheyenne Civic Center—The Wizard of Oz25 Tuna Fish & Peanut Butter Classic Conversations Laramie County Library25 Hausmusik—Elena Urioste, violinist— Hosted byBob & Charla Nelson26 CSO Concert—The Magic of Mozart

March 20114 Cheyenne Civic Center—Forever Doo-Wop6 LCCC Choir Concert— King of Glory Lutheran Church 8 LCCC Band Concert—Cheyenne Civic Center 15 Celtic Year—LCCC Harp Ensemble— St. Mark’s Espiscopal Church 18 Cheyenne Civic Center—Bowfire18-20 CLTP—The 25th Annual Putnam County Spelling Bee 25-27 Historic Atlas Theatre 20 Capital Chorale—Elijah— First United Methodist Church25 Tuna Fish & Peanut Butter Classic Conversations Laramie County Library25 Hausmusik—Antonio Pompa-Baldi, pianist— Hosted by Sloan & Anna Marie Hales26 CSO Concert—Pompa-Baldi Keyboard Passion 27 Cheyenne Concert Association— River City 6April 20118-10 CLTP—Noises Off—Mary Godfrey Playhouse10 Luminosity—LCCC Choir Concert 11 LCCC Jazz Concert—Cheyenne Civic Center 14 Cheyenne Concert Association— Romanza’s Tenorissimo 15-17 CLTP—Noises Off—Mary Godfrey Playhouse 16 CSO Special Event free concert— Handel’s Messiah20 Cheyenne Civic Center—Cats26 LCCC Band Concert—Cheyenne Civic Center 30 Pops Concert— Classical Mystery Tour–A Beatles Tribute

May 2011 1 Chamber Singers—May Day Concert in the Park Lions Park Community House 10 Cheyenne Civic Center—Riverdance 13-15 CLTP—Grease—Mary Godfrey Playhouse 20 Capital Chorale—Favorites from Broadway— Cheyenne Depot20-22 CLTP—Grease—Mary Godfrey PlayhouseJuly 2011 22-31 Cheyenne Frontier Days—The Daddy of ‘Em All!!!

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101.9 FM,106.3 FM & AM 650 KGAB .................... 51Adora Day Spa/Cheyenne Skin Clinic ........................ 44 Bank of the West ........................................................ 64 Buford Trading Post ................................................... 28 CBS 5 NewsChannel .................................................. 94 Cameco Resources ...................................................... 20Cheyenne Kiwanis Foundation ................................... 50 Cheyenne Light, Fuel & Power .................................. 36 Cheyenne Regional Medical Center ........................... 52 Cheyenne Symphony Foundation .............................. 72 City of Cheyenne ....................................................... 58 Dyno Nobel, Inc. ....................................................... 64 First Interstate Bank ................................................... 73 Laramie County School District No. 1 ....................... 58 Little America Hotel & Resort ................................... 31 McDonald’s Restaurants ............................................. 39 Pioneer Printing & Stationery Co., Inc. ..................... 65Sierra Trading Post ..................................................... 21 Target ......................................................................... 36 U.S. Bank ................................................................... 37 Walmart ..................................................................... 50Wells Fargo Bank, N.A. .............................................. 45 Western Vista Federal Credit Union ........................... 29 WINhealth Partners ................................................... 73 Wyoming Arts Council .............................................. 35Wyoming Community Foundation ............................ 37 Wyoming Hereford Ranch ......................................... 39 Yellow Book, U.S.A. ................................................... 93

Sponsors, Grants & Underwriters Index

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#1 Properties .......................................................36Adora Day Spa ....................................................95Allergy & Asthma Clinic of Wyoming .................67 American National Bank ....................................57Avens Spa ............................................................50 B & B Appliance & TV .......................................15 Babson & Associates Primary Care, P.C. ..............37 Bank of the West .................................................34 Bellanova Professional Clinical Skin Care ............69Blue Cross Blue Shield of Wyoming ......................7 Bouquets Unlimited ............................................75 Bresnan Communications .....................................3 Capital City Computers ......................................91 Capital Lumber Company ...................................75 CBS 5 NewsChannel ...........................................94 Cheyenne Children’s Clinic, P.C. .........................14 Cheyenne Eye Clinic ...........................................57 Cheyenne LEADS ...............................................34 Cheyenne Light, Fuel & Power ...........................56Cheyenne Little Theatre Players ..........................13 Cheyenne Obstetrics & Gynecology, Inc., P.C. ....30 Cheyenne Regional Medical Center ....................67 Cheyenne Skin Clinic..........................................95 Cheyenne Women’s Clinic ...................................56Clay Paper Scissors Gallery & Studio ..................85 Delta Dental .......................................................59 Downtown Development Authority ....................48Downtown Record Storage ..................................93Dray, Thomson & Dyekman, P.C. .......................12 Eileen’s Colossal Cookies .....................................65 Eye Care Clinic ...................................................55 First American Title Company ............................15 First Cheyenne Federal Credit Union ..................47 First Interstate Bank ............................................31 First National Bank of Wyoming ...........................2 Great Harvest Bread Co. .....................................29Highland Farms, LLC .........................................51Holland & Hart, LLP .........................................61 Hometown Magazine ..........................................64 HUB International ..............................................56 Investment Brokerage Group ...............................35 Jonah Bank ..........................................................25Keith Turbitt’s Shutter-Vision .............................29 L.A. Guitar Quartet ...........................................13Laramie County Community College .................13 Life Care Center of Cheyenne ...............................9Little America Hotel & Resort ............................84 Managing Meals ..................................................65 McDonald’s Restaurants ......................................67

McGee, Hearne & Paiz, LLP ...............................15 Nagle Warren Mansion........................................89 Niemann & Sons Music ......................................47 Old West Museum ..............................................28Pain Consultants of the Rockies ..........................51Pioneer Printing & Stationery Co., Inc. ..............20 Poor Richard’s Restaurant ....................................27 RBC Wealth Management .................................85 Rocky Mountain Capital Agency ....................... 52 St. Mark’s Episcopal Church ...............................29Schrader Funeral Home .......................................7 Schroll Cabinets .................................................21Security First Bank .............................................92 Shaul Harp .........................................................44 Sierra Trading Post .............................................96The Spine Center ...............................................93Spradley Barr Motors, Inc. .................................53 The Statement ....................................................14Taco John’s .........................................................72 Town & Country Supermarket Liquors ..............78Traders Publishing ..............................................23 U.S. Bank ...........................................................15U.W. College of Arts & Sciences, Music Dept. ...85 Wells Fargo Advisors ...........................................59 Wells Fargo Bank, N.A. ......................................45 Western Vista Federal Credit Union ...................91 Whispering Chase ..............................................17 WINhealth Partners ...........................................49Wyoming Bank & Trust .....................................36 Wyoming Home ................................................72 Wyoming Network.com .....................................46 Wyoming Outpatient Services ............................34 Wyoming Public Radio ........................................5 Wyoming Spine & Neurosurgery .......................50 Wyoming State Bank ..........................................58 Yellow Book, U.S.A. ...........................................93 Yocum Music .....................................................66

Advertisers Index

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