ReSOUND: Sept-Oct 2022

ReSOUND

Resilience A Song of

Sound without understanding is not music. Our love for great musicians is in their supple awareness; listening, discerning, and responding to their colleagues with unspoken, split-second reactions. A butterfly-wing adjustment from one player ripples out through the entire orchestra, transporting the musicians and audience. We believe in the power of discernment, and the courage to change with those around us.

In this song of resilience, we visit Edward Elgar, the Edwardian English composer who came from nothing, achieved greatly, overcame his demons, and transformed the world of orchestral music for the better.

We are delighted to welcome eight new musicians, joining the ranks of the Colorado Springs Philharmonic this season.

And in this issue, as we consider the vastness of musical variations, we inspect the violin’s dual personality in classical style and fiddle fascination, featuring Celtic fiddler Eileen Ivers who appears on our stage in mid-November.

Elgar’s Enigma Variations: Mysteries and Music

the dream, ‘Eh! Tune, what tune?’ and she said, ‘Play it again, I like that tune.’ As he repeated it, he began to vary it, asking her, “Whom does that remind you of?” and thus the musical por traits of the “friends pictured within” were born.

by Elizabeth Schwartz

Edward Elgar’s Variations for Orchestra on an Original Theme, Op. 36, better known simply as the “Enigma” Variations, have engaged and intrigued since they were composed more than 120 years ago. From its opening notes, the music draws the listener in, and the inventive variations on the original theme are by turns delightful, humorous, light-hearted, pensive, romantic, solemn, and majestic. But Op. 36 offers much more than pleasant listening.

In England, Variation 9, “Nimrod” has become a kind of musical shorthand for Englishness itself. This solemn, stately music has also made its way into popular culture through film scores: Australian composer Rob Dougan’s 1995 hit, “Clubbed to Death,” which is grounded in the harmony of Elgar’s original theme and also references the melody, became part of the soundtrack for the blockbuster 1999 film The Matrix; Hans Zimmer also used it in the score to the 2017 WWII film Dunkirk. In 2012, “Nimrod” was performed at the London Olympics opening ceremony. It is also played every year in Britain on Remembrance Sunday.

Much has been written about the Variations, including lengthy discussions of their actual title. Elgar called them simply Vari ations for Orchestra on an Original Theme. The word “enigma” was added by Elgar’s publisher August Jaeger above the original theme in the manuscript, suggesting “Enigma” was the name of the theme itself, rather than the title of the whole work. Further more, the title page reads, “Variations for Orchestra composed by Edward Elgar Op. 36.” This was later changed to “Variations on an Original Theme for Orchestra, Op. 36.” Elgar himself never referred to Op. 36 as the “Enigma Variations” in his conversations and correspondence, although he did not object to the nickname appearing in the published score.

How Op. 36 was born:

One chilly October night in 1898, Elgar came home after a long day of teaching violin lessons. To unwind, he sat down at his piano and began improvising. Elgar recalled, “Suddenly my wife interrupted by saying, ‘Edward, that’s a good tune.’ I awoke from

There are two enigmas in the Variations: the melody that begins the piece; and another, which according to Elgar, is silent but present throughout. In Elgar’s original program notes for the June 1899 premiere, he wrote, “The enigma I will not explain –its ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme ‘goes’ but is not played.” Because Elgar never revealed the identity of the enigma, speculation about it abounded, both during Elgar’s lifetime and perhaps even more so after his death in 1934. Over the years “Rule Britannia,” “God Save the King,” “Auld Lang Syne” and the hymn “Ein feste Burg” (A Mighty Fortress Is Our God) have all been suggested as possible candidates.

Some scholars suggest, in keeping with Elgar’s comment regard ing the “silent” enigma, that the second enigma is not a piece of music at all but an abstract concept, such as friendship or love. 12 years ago, two musicologists published an article, “Solving Elgar’s Enigma,” which postulates the intriguing theory that the silent enigma is pi (π), the ratio of a circle’s circumference to its diameter.*

Support for a non-musical solution begins with the fact that, in addition to music, Elgar had a lifelong passion for puns, word games, ciphers, and cryptography. He delighted in creating and solving riddles of all kinds, particularly those using word play, like hidden acrostics. Elgar also possessed a mischievous sense of humor, and he enjoyed bamboozling friends with his original puzzles. The most famous of these, known as the Dorabella Cipher, is a short 1897 note written in cipher from Elgar to Dora Penney, a young friend of both Elgars. Although several solutions to the cipher have been proposed over the past 120 years, none has been universally accepted.

With the success of the Variations, English music itself, which had languished in relative obscurity since the death of Henry Purcell some 300 years earlier, received a much-needed boost. Op. 36 immediately delighted audiences with its thirteen portraits of Elgar’s friends and family, and his own self-portrait finale. His love of puzzles notwithstanding, Elgar intended this loving tribute to be appreciated as pure music; he insisted one need not know the enigma’s solution to enjoy listening to it. Elgar wrote, “There is nothing to be gained in an artistic or mu sical sense by solving the enigma of any of the personalities; the listener should hear the music as music, and not trouble himself with any intricacies of ‘programme.’ To me, the various person alities have been a source of inspiration, their idealisations a pleasure – and one that is intensified as the years go by.”

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According to Elgar, the audible enigma (Original Theme) represents the composer himself; he felt it embodied the loneliness of the creative artist. In a letter to Jaeger, Elgar wrote, “I have sketched a set of Variations (orkestra) on an original theme: the Variations have amused me because I’ve labeled ’em with the nicknames of my particular friends – you are Nimrod. That is to say I’ve written the variations each one to represent the mood of the ‘party’ – I’ve liked to imagine the ‘party’ writing the var: him (or her) self and have written what I think they wd. have written – if they were asses enough to compose – it’s a quaint idee & the result is amusing to those behind the scenes & won’t affect the hearer who ‘nose nuffin.’ What think you?”

The people Elgar pictured are close friends and family; there are no famous musicians or influential aristocrats. Elgar himself was a man of humble birth, who felt a life-long alienation from the English upper classes; his marriage to his wife Alice was regarded (on her side of the family, at least) as a case of “marry ing up.” Whatever Alice’s family thought of Elgar, she knew that Elgar did not marry her to gain status or position, but out of love and devotion.

The “Friends Pictured Within:”

1. C.A.E. Caroline Alice Elgar (1848-1920), Elgar’s wife. Known as Alice, she was the daughter of a retired major-general who served in India. She was a woman of many interests, including geography (she herself was born in India), natural history, and literature. She published a novel and a fair amount of poetry, some of which Elgar set to music. In her late 30s, Alice began studying piano accompani ment with Elgar, and after her mother died in 1887, they fell in love. Her family were scandal ized at the idea of her marrying Elgar, who was poor, Catholic, and whose father was “in trade.” Alice, however, was undeterred. She believed in Elgar, loved him, and throughout the 31 years of their marriage she was Elgar’s most consistent and faithful supporter. According to Elgar, her life “... was a romantic and delicate inspiration.”

The music of her variation suggests this; it begins as a gentle, refined reworking of the opening Enigma theme, (Elgar said it was “really a prolongation of the [Enigma] theme”), transforms into a passionate exclamation of emotion, and ends serenely.

2. H.D.S-P. Hew David Steuart-Powell (18511924), an amateur pianist who often played piano trios with Elgar and Basil Nevinson. His typical piano warm-ups, which favored diatonic scales, are satirized in a way Elgar described as “chromatic beyond H. D. S.-P.’s liking.” The strings and winds are

throughout this brief, breathy variation.

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Welcome to our new musicians!

Following successful auditions, we welcome a record number of new performing artists to the Philharmonic ranks.

Jackson Bailey first violin

Solo, ensemble, jazz, and orchestra – these are all welcome and familiar settings for this versatile violinist and composer. Jackson hails from Fort Collins, where he began playing at age six. He pursued his bache lor’s at DePauw University, where he also won the DePauw Concerto Competition. He then went on to the University of Colorado for his master’s under the tutelage of Harumi Rhodes of the Takacs Quartet. His talents have opened the doors for two overseas orchestral tours, a chamber music festival in Courmayeur, Italy, the 2021 Lucerne Festival Academy in Switzerland, as well as an appearance at the National Sawdust in Brooklyn. Previously performing as a substitute with the Colorado Springs Philharmonic during the 202122 season, he is thrilled to now join the orchestra full time. In addition to his violin virtuosity, Jackson is a composer, an arranger, and a luthier’s apprentice.

Stephanie Bork first violin

After seeing a musician featured on Mr. Roger’s Neighborhood, three-year-old Stephanie cajoled her mother into buying her a violin and arranging for lessons. The Detroit native has been playing ever since. Stephanie attended the University of Cincinnati College-Conservatory of Music for her undergraduate degree. She advanced to The University of Michigan for her master’s studies where she was a pupil of Aaron Berofsky. Stephanie has played with numerous symphony orchestras and opera companies, including the Houston Symphony, the Houston Grand Opera, the Houston Ballet, the Toledo Symphony, The Lansing Symphony Orchestra, and the Ann Arbor Symphony. She is also a substitute violinist with the Houston Symphony, the Houston Grand Opera, and the Houston Ballet. Closer to home, Stephanie has been a principal with the Greely Philharmonic and a section violinist with the Boulder Phil. With 20 years of experience teaching violin, she currently maintains an active private studio and works as a freelance violinist.

Lethicia Caravello principal harp

A 2020 nominee for the Harvard Musical Association’s Arthur Foote Award, Lethicia is an active solo, orchestral, accompanist, and chamber performer. She has appeared with orchestras and at classical musical festivals throughout the US and has been a resident artist fellow at the Atlantic Music Festival and the Orchestra of the Americas. She recently had her solo debut at Carnegie Hall. A native of Brazil, Lethicia graduated in music performance from Brigham Young University and earned her Masters of Music from the Boston Conservatory at Berklee. She has also studied with renowned harp virtuoso, Ina Zdorovetchi. Lethicia has successfully competed nationally and internationally, receiving first place in the American Protegé International Competition for Piano and Strings. She was a finalist for The American Prize in Instrumental Performance, as well as the American Harp Society National Competition Young Professional Division. Along with performing, Lethicia is a trained Suzuki Method harp teacher and holds a private studio both online and in-person.

Evan De Long principal violin

LA native Evan De Long has played violin since the age of eight. He holds a bachelor’s degree in violin performance from the Indiana University Jacobs School of Music, where he studied with Jorja Fleezanis and Grigory Kalinovsky. While there, he also played with both the Owensboro Symphony Orchestra and the Evansville Philharmonic. He went on to earn a master’s degree at the University of Denver’s Lamont School of Music, where he studied with Linda Wang. Evan has performed as an orchestral musician with the Cheyenne Symphony and currently holds section violin positions with the Fort Collins Symphony and the Boulder Philharmonic. He substitutes regularly with both the Colorado Symphony and the Santa Barbara Symphony. In addition to engagements with a variety of ensembles, Evan has been a chamber concert performer with the Holland America Line on its northern European route. He is a passionate music teacher and maintains a large private studio of both violin and piano students in the Denver area.

Nick Finley associate principal percussion II

As a young student in Frisco, Texas, Nick was a performer with the Lone Star High School Percussion Ensemble – a group that was awarded the highest recognition a high school percussion program can receive: a chance to perform at the 2016 Percussive Arts Society International Clinic convention. From there, they continued their path of excellence to Rice University, Houston, where they studied with Matthew Strauss of the Houston Symphony. They also had the opportunity to perform Missy Mazzoli’s one-act chamber opera, Proving Up – a significant, progressive piece of music that features seven tuned acoustic guitars played with a drumstick. Nick describes the experience as being a “unique challenge.” Though they originally aspired to be a solo marimbist, they have come to love orchestral performance as a primary career focus. Nick is continuing their studies in the master’s program at the University of Miami under the guidance of Svet Stoyanov and Joseph Petrasek.

Hunter Hawkins double bass

Hunter began playing the double bass at age 11 when he was a middle school student in San Clemente, California. He fell in love with the instrument and music immediately, drawn to both by a sense of community musicianship and the collaborative nature of orchestral performance. His studies led him first to California State University-Long Beach for undergrad and then to Indiana University where he pursued a master’s degree. During his student years, he studied with several notable teachers including Pacific Symphony assistant principal Doug Basye as well as former Pittsburgh Symphony Orchestra principal and Jacobs School of Music faculty, Jeffrey Turner. Hunter is looking forward to this season’s challenging repertoire, particularly Strauss’ Don Quixote. He will also be an orchestral performer with the Greeley Philharmonic in 2022-23 . Outside the realm of music, Hunter is a hiker and camper who is eager to explore the natural beauty of Colorado.

Daniel Moore viola

This Houston-born violist has a passion for New Music, Pop Music, and Early Music, and is decidedly also a lover of the classics. Daniel is most excited about performing Mahler’s emotionally riveting Symphony No. 9 during his first season with the Philharmonic. Daniel began playing at age 12 and attended the Houston High School for the Performing and Visual Arts, studying with Lawrence Wheeler. After receiving his bachelor’s degree from Vanderbilt University and his master’s degree from Louisiana State University – both in viola performance – he went on to study for two years at Lynn University. He has since been accepted as a doctoral student at the University of Colorado Boulder where he is studying with Erika Eckert. Daniel has been an active ensemble and festival performer throughout his years of viola study and is also an amateur organist and composer. He is also an arranger, and created an ambitious program of the songs of American composer, songwriter and pianist Tori Amos for soprano and chamber ensemble while still a doctoral student at CU.

Zachary Ragent first violin

As the son of a horn player, Zachary confesses that he is eagerly anticipating the horn-forward performance of Schumann’s Concert Piece for Four Horns during his first season with the Philharmonic. However, the San Mateo native has himself been an ardent violinist from age five and began his formal music education at the University of California Santa Cruz with Roy Malan. He then completed both master’s and specialist’s degrees in violin performance at the University of Michigan, where he studied with Aaron Berofsky. During his time as a student, he has spent summers as a fellow at the Mendocino, Marrowstone, and Manchester Music festivals, Garth Newel Music Center, National Orchestral Institute, and Chautauqua Institute. A dedicated teacher, Zachary maintains a private studio and has taught for Sistema based programs in both California and Michigan. In addition to his new role with the Colorado Springs Philharmonic, Zachary is also a member of the Britt Festival Orchestra and the Peninsula Music Festival Orchestra and was formerly a member of the New World Symphony.

Eileen Ivers

What’s in a name?

The fiddle and the violin

by Paul Dusseault

What’s the difference between a fiddle and a violin?

Not a darn thing… which is a frustrating answer to bluegrass virtuosos who would not be caught dead playing a “violin” as well as classical purists who crinkle their nose at the word “fiddle.”

Yet a technical delta between the two instruments does not, in fact, exist. “Some would claim that the bow hair might be heavier, or the bridge might be set a little lower, but these are exquisitely subtle distinctions,” says Eileen Ivers, Grammy -winning master of the Celtic fiddle. Ivers and her bandmates –the touring/recording group “unIVERSal roots” -- are slated to perform with the Colorado Springs Philharmonic this fall. “It’s the same sound plate, shape, cut, size, materials. In describing the instrument, ‘violin’ and ‘fiddle’ are interchangeable.”

Well, almost.

To be sure, there are some who do, in fact, use the words as synonyms. But there are others who, as a matter of idiomatic policy, refrain from such careless vocabulary. And then there are those who treat the cultural baggage of the two words with

whimsical irony. For instance, internationally renowned classical violinist Itzhak Perlman repeatedly and somewhat infamously refers to his instrument as his “fiddle.”

“I was playing a concert in a Southern state a few years ago and did a questions and answer session for some kids afterwards,” recalls Ivers. “One ten-year-old girl asked if I knew the difference between a violin and a fiddle. I asked her what she thought the difference was. She said, ‘A violin has strings, and a fiddle has straaangs.’ I’ve always thought that’s as good an answer as any.”

The violin, of course, is a wooden chordophone (string instrument) featuring a hollow body, four strings tuned in fifths, played by drawing a bow across the strings or, less commonly, by plucking. Violins are the backbone of Western classical music in ensembles, orchestras, and as solo instruments. Valued for its ability to convey a great range of emotional depth, the violin became widely popular in 16th century Europe, though it may have its roots in the lyre, a harp-like instrument of ancient Greece. It’s tempting to assume that “fiddle” is a flippant nickname applied to the violin in some relatively informal era since the instrument’s emergence, but etymological examinations link fiddle to fidula, an early word for violin both in Latin and in Old High German that also appears in texts of the 16th century. So, violin and fiddle apparently grew up simultaneously – twin sons of different mothers.

(Given the chronologically clear record, we can debunk at least one historical myth: Emperor Nero may have been a criminally negligent ruler of first century Rome, but he certainly did not fiddle while the city burned. The fiddle had not yet been invented.)

The difference between the violin and the fiddle, insofar as one exists, lies not in the instrument itself, but rather in the music produced. Violins typically play music that is classical, standard ized, and formal. Fiddles typically play music that is casual, im provisational, and spontaneous. In the parlance of the Colorado Springs Philharmonic 2022/23 performance season brochure, the violin is Masterworks, the fiddle is Pops.

Which suggests a brain teaser as challenging as it is useless: Mozart never wrote (and never would write) “Fiddle Concerto No. 3.” On the other hand, if you pick up a $10 million Stradi varius violin and play “Turkey in the Straw,” does that make it a fiddle?

“I’ve actually played a Stradivarius,” says Ivers. “And when you pick it up and notice the delicate balance and smell the seasoned wood and feel the superb reaction speed, ‘Turkey in the Straw’ is not the tune that occurs to you to play.”

Ay, there’s the rub. The genuine instrument and the true musi cian bond, communicate, and collaborate. As in all high art, the instrument is a mere extension of the artist, and the instrument speaks in mystical whispers to the musician’s soul.

Ivers relays an anecdote of her friend, American jazz violinist Regina Carter, who, when traveling in Europe, was invited to inspect the carefully preserved violin of 19th century Italian composer and virtuoso Niccolò Paganini. “It was a complicated administrative ordeal to gain access to the instrument,” says

Ivers. “It was under lock and key, you needed special permission and official supervision. Regina was so involved with the byzantine process of simply getting into the same room with the violin that it was not until she lifted it to her chin that she finally gave some thought to what she might actually play. It obviously had to be something appropriate to the moment, even if the only audience was the hovering security guard. She thought of how proud her mother would be of her in that in stant. Her mother, Grace. So, she played ‘Amazing Grace.’ I think that was perfect.”

In 2002, Ivers, Carter and classical violinist Nadja Salerno-Son nenberg merged their respective musical genres to perform the world premiere of “Interplay for Three Violins” by Christopher Brubeck. The “Fiddlers Three” public television special, part of the Boston Pops series, became one of Ivers’ favorite musical memories. “I come from Celtic folk music, Regina is jazz, Nadja is classical. Were we playing violins? Were we playing fiddles? Who knows? Who cares? It was fabulous.”

Ivers wonders if the harmony between the fiddle and the violin may be found in musical tradition, an admittedly ambiguous phrase. “Of course, there’s a strong tradition of the Celtic fiddle,” she says. “And I consider myself one in a long line of ambas sadors of that traditional music. But do you look at County Limerick of the 1700s and say that style and technique will be regarded forever as ‘tradition?’ Or do you incorporate the next few hundred years when all those great fiddle players came from Ireland to New York and began to pick up influences from East ern and African music? Or do you reach into the 20th century when the electrification of the instrument opened up a world of synthesis and experimentation and looping that has become so important to the contemporary sound? Some of today’s younger talents play with such heart and some of their arrangements are so inventive that they are bound to become what some future generation calls ‘tradition.’”

There also is an audience component to the semantic tension between violin and fiddle. “Audiences obviously appreciate a violin concert,” says Ivers. “They can be moved by great classi cal music. They smile. They cry. They may close the evening, rightly so, with a standing ovation. But at a fiddle concert they respond a bit differently. They clap, hoot and holler, bounce in their seats, dance in the aisles. The word ‘fiddle’ gives them some kind of permission to express different emotions, or at least to more emotionally express themselves.”

Which is why Ivers considers the short walk between backstage and the spotlight among her most precious moments. “Before every concert, after warmups and equipment checks, I say a little prayer of thanksgiving for this blessed life of music I am privi leged to live, and I think of all the talented and devoted violinists and fiddlers who have come before me to pave the way. And, in part for them, I vow at each concert to go out there and give it my all.”

Celtic Spirit

Pikes Peak Center for the Performing Arts

Fri. Nov. 11, 7:30pm | Sat. Nov. 12, 7:30pm

Thomas Wilson conductor | Eileen Ivers violin

Described as “the Jimi Hendrix of the violin” by The New York Times, Eileen Ivers and the Philharmonic take you on a Celtic journey.

Visit csphilharmonic.org for tickets.

A fearless approach to an uncertain future

As musicians and patrons, we know that being together in community is a privilege, that live music is necessary to us. That’s why we are committed to support for today’s needs, and for the unexpected future to keep music close to our hearts, Now & Forever.

Just Announced: Every new or increased gift matched with up to $100,000 to the Permanent Endowment.*

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3. R.B.T. Richard Baxter Townshend (1846-1923), a welltraveled and rather eccentric scholar/author. His youthful adventures included cattle ranching in Texas and pros pecting for gold in Colorado; his American experiences gave him an interest in and sympathy for the plight of the American Indian. Townshend later taught Classics at Bath College and was also a gifted mimic and amateur actor. His theatrical caricature of an old man amused Elgar, who described ‘the low voice flying off occasionally into ‘soprano’ timbre.’ It is this caricature (rather than an actual portrayal of Townshend himself) that is the subject of the variation, which, correspondingly, features high and low extremes of pitch and timbre.

4. W.M.B. William Meath Baker (1858-1935), the squire of Hasfield Court, and an avid Alpine climber. The Elgars enjoyed his hospitality on several occasions, where they witnessed his habit of barking commands to his guests and slamming doors upon exiting rooms. Elgar highlighted Baker’s tempestuous behavior in this shortest of the varia tions (just 32 measures).

5. R.P.A. Richard Penrose Arnold (1855-1908), third son of poet Matthew Arnold. He was a pianist whose selftaught style of playing, according to Elgar, seemed to be “evading difficulties but suggesting in a mysterious way the real feeling. His serious conversation was continually broken up by whimsical and witty remarks.” The pensive minor-mode quality of the opening suggests a dreamy, sensitive personality, and the contrasting section for winds in major evokes the “whimsical and witty remarks.”

6. Ysobel Isabel Fitton (1868-1936), a talented amateur musician who played piano and violin. Elgar started her on viola lessons as well, but she ceased working with him, saying, “No, dear Edward, I value our friendship much too much!” Her variation is modeled after a viola exer cise Elgar designed for her to practice crossing strings, something she apparently had difficulty mastering, and it features a short passage for solo viola. Elgar described her variation as “pensive, [but] for a moment, romantic.”

7. Troyte Arthur Troyte Griffith (1864-1942), an artist, architect, and not-overly-talented piano student of Elgar’s, who said that he tried “... to make something like order out of the chaos,” but that “...the final despairing ‘slam’ records that the effort proved to be in vain.” Some Elgar scholars describe this variation as a musical depiction of a walk Elgar and Troyte took in the Malvern Hills, in which they were surprised by a thunderstorm. The booming of the timpani at the opening corresponds to thunder, and the energetic music can be interpreted to suggest a violent cloudburst.

8. W.N. Winifred Norbury (1861-1938), co-secretary of the Worcestershire Philharmonic Society. She also, with Lady Mary Lygon, another possible “friend pictured with in,” co-directed the Madresfield Musical Society. (In his sketches for this variation, Elgar wrote the note “secys,” which suggests the intent to honor Norbury and Monica Hyde, the secretaries of the Worcestershire Philharmonic Society.) Elgar said this variation is actually a portrait

of “Sherridge,” Norbury’s beautiful house, the scene of numerous musical gatherings. The bubbling winds capture her ready laugh.

9. Nimrod August Johannes Jaeger (1860-1909), a good friend and one of Elgar’s publishers at Novello (Nimrod is the biblical “mighty hunter,” a pun on “Jaeger,” the German word for “hunter.”) Jaeger was not only Elgar’s publisher, but also his champion, and he made useful and important constructive criticisms of Elgar’s music, like in particular, expanding and lengthening the finale of the Enigma Variations, which Elgar greatly appreciated.

When Elgar and Alice visited Jaeger on Jan. 12, 1899, Elgar told Jaeger of his failed attempts to interest Novello in the Variations, and that he was going to give up composing and go back to teaching music. Jaeger, disturbed by this news, took it upon himself to ensure Elgar’s Variations would receive the attention they deserved. Within a day or two of Elgar’s visit, Jaeger went to composer Sir Hubert Parry (best known for the church anthem “Jerusalem”), and described Elgar’s plight. Parry took Jaeger to the home of Hans Richter, who was then conductor of the Birming

Edward Elgar

ham Festival and his own series of London concerts. Richter was in Vienna, but Parry and Jaeger contacted his London agent, who promised to send the manuscript of Elgar’s Variations on to Richter with a positive recom mendation. (Richter was impressed and interested in the Variations, and his endorsement led to their dissemination in Europe.)

Elgar described Jaeger’s variation as an evocation of a conversation between the two men about Beethoven’s diffi culties with his deafness. Jaeger’s mention of Beethoven was meant to encourage Elgar, who was at the time de spondent over his own struggles to gain recognition. Elgar wrote, “it will be noticed that the opening bars are made to suggest the slow movement of [Beethoven’s] Eighth Sonata (‘Pathétique’).”

10. Dorabella Dora Penny (1874-1964), nicknamed “Dorabel la” by Elgar, after a character in Mozart’s opera, Così fan tutte. She met the Elgars in 1895 and Alice soon hired her as an archivist of Elgar’s papers. She is described as having “youthful charm,” epitomized by her spontaneous impro vised dances to Elgar’s music (she also accompanied Elgar on bicycle rides around the countryside). She often sat at the piano turning pages for Elgar during performances. In 1937, three years after Elgar’s death, she wrote Edward Elgar: memories of a variation, which is a loving but not particularly accurate memoir. Her variation features a gen tle stutter in the woodwinds, which mimics Penny’s actual minor speech defect; this was Elgar’s affectionate attempt to both tease and characterize her musically.

11. G.R.S. George Robertson Sinclair (1863-1917), organist of Hereford Cathedral. He is the only professional musician (other than Elgar himself) associated with the Variations; soon after he came to Hereford Cathedral, in 1897, he commissioned the Elgar’s Te Deum and Benedictus. Elgar appreciated Sinclair’s musical abilities, but the variation named for Sinclair is actually a portrayal of his bulldog, Dan. We hear Dan tearing about with typical canine ener gy, fetching and retrieving sticks from the Wye River, and tumbling down the riverbank. Elgar made a habit of not ing ideas, which he called “the moods of Dan,” in Sinclair’s visitor’s book. Some of these musical jottings were used in Elgar’s other works, including The Dream of Gerontius.

12. B.G.N. Basil Nevinson, an amateur cellist who played with Elgar and Steuart-Powell. He was a barrister by profession, although he did not practice law. Elgar described him as ‘a serious and devoted friend … whose scientific and artistic attainments, and the whole-hearted way they were put at the disposal of his friends, particularly endeared him to the writer.” Nevinson’s playing may have inspired Elgar to write his Cello Concerto. This variation, not surprising ly, begins with a solo cello melody, and the cello section is featured throughout. This variation is musically more similar to the Enigma theme than the other variations.

13. *** There has been more discussion about this variation than any other, because it does not definitively identify anyone, and also bears the title “Romanza.” The possible candidates for this variation are women, which leads to

speculation of a romantic nature similar to that surround ing the identity of Beethoven’s Immortal Beloved.

Elgar himself claimed Lady Mary Lygon (1869-1927) was the inspiration for this variation, but if so, why hide her identity? Elgar also claimed Lygon traveled to Australia at the time Elgar composed the variation (in fact, she was still in England), and to bolster the nautical association, he quotes from Mendelssohn’s Calm Seas and Prosperous Voyage.

Elgar’s former fiancée Helen Jessie Weaver is another possibility. Elgar had known her from childhood; by some accounts, she broke his heart when she emigrated to New Zealand. The passion he felt for her has been interpreted by some scholars as being evident in the mood of the Romanza.

14. E.D.U. Elgar. “Edoo” was Alice’s pet name for her hus band, a variation of the French “Edouard.” His variation quotes from hers and from Jaeger’s, the two people who consistently believed in and supported him throughout his life. “Written at a time when friends were dubious and generally discouraging as to the composer’s musical fu ture,” said Elgar, “this variation is merely intended to show what E.D.U. intended to do. References are made to two great influences upon the life of the composer: C.A.E. and Nimrod. The whole work is summed up in the triumphant broad presentation of the theme in the major.”

Elgar’s English colleagues immediately appreciated what the Enigma Variations represented, both to British people and to audiences throughout Europe. Sir (Charles) Hubert Parry, an English composer best known for the choral anthem “Jerusalem,” recorded in his diary his pleasure at hearing that “[conductor Hans] Richter is going to preside over their presentation to the Viennese. It will wake them up and no mistake.” Richard Strauss announced, “Here for the first time is an English composer who has something to say.” Elgar’s mother Ann also understood the significance of her son’s success. In a letter to Elgar’s wife Alice, Ann wrote, “I feel that he is some great historic person – I can not claim a little bit of him now he belongs to the big world.”

If you want to learn more about possible solutions to Elgar’s enigma, check out composer Barnaby Martin’s YouTube channel Listening In, particularly The Mystery Behind Elgar’s Enigma

© Elizabeth Schwartz

Corporate and Foundation Supporters

Donations received September 2, 2021 through September 2, 2022

$50,000 and higher

Colorado Springs Philharmonic Guild

City of Colorado Springs

Penrose-St. Francis Health Services

Pikes Peak National Bank

$20,000 and higher

The Anschutz Foundation

The Bloom Foundation

The Mary K. Chapman Foundation

El Paso County Enterprise Zone

UCHealth-Memorial Hospital

$10,000 and higher

Bee Vradenburg Foundation •

Colorado College and the Fine Arts Center at Colorado College

GE Johnson Construction Company

The Joseph Henry Edmondson Foundation

Kirkpatrick Family Fund

The Kenneth King Foundation

Tiemens Private Wealth Management Group of Wells Fargo Advisors dpiX

Philharmonic Ventures

$5,000 and higher

Children’s Hospital Colorado McCauley Fund of the Pikes Peak Community Foundation

Millennium Financial Group - Scott Miller and Mark Lyons

$2,500 and higher

El Pomar Foundation

Fidelity Charitable Welkin Sciences, LLC

$1,000 and higher

The P. Bruce and Virginia C. Benson Foundation

The Garden City Company Drs. Michael and Cassie Iliff and Hearing Consultants Virginia W. Hill Foundation

Integrity Wealth Advisors

The Hayes Family Foundation

Webb Family Fund of the Pikes Peak Community Foundation

• Maestro’s Circle • Encore Society • Board Member

$500 and higher

Boeing Company Charitable Trust, The General Fund

The Progressive Insurance Foundation

$250 and higher

The Benevity Community Impact Fund

Charitable Adult Rides & Services Inc. Eaton Corporation

$100 and higher

AmazonSmile Foundation

The Kroger Co. Rotary Club of North Colorado Springs

Donations received September 2, 2021 through September 2, 2022 Philharmonic Ventures donors support special artistic and community projects of the Colorado Springs Philharmonic, over and above their normal benefactor levels.

Title Sponsor

Pikes Peak National Bank •

Presenting Sponsor

Eileen Nobles and Robert Odien •

Production Sponsor

The Bloom Foundation •

Richard and Sandra Hilt •

Podium Sponsor

Lt. Col. (Ret) Eugene S. Harsh in loving memory of his wife Lois E. Harsh • •

GE Johnson Construction Company

Ed and Mary Osborne • dpiX

Maestro’s Circle

Venture Sponsor

Jean Bodman

Arlen Feldman and Adriana Wood • Mr. and Mrs. William Hybl Christina McGarry • Lance and Brenda Miller • • • Ken Montera and Theresa Stahura • • Jim and Carol Montgomery • • Sally Sharpe and John R. King III • • Doris Tavernier-McLeod • Anonymous (1)

• Maestro’s Circle • Encore Society • Board Member

Venture Partner

Kristen Christy and Sean Lange • • Glenn and Elizabeth Conklin • Marty Kelley • • Marion and John Meyer • Michael and Patricia Olsen • • Fran Pilch • •

Mary T. and Victor L. Thacker • Dr. Robert Tinker and Ms. Mary Tinker-Bartz • Drs. Michael and Nga Turner

Donations received September 2, 2021 through September 2, 2022

Members of the Maestro’s Circle have pledged generous annual gifts of $1,000 or more over three or more years, and enjoy special perks and VIP access. Visit csphilhamonic.org/maestro for details.

Vivace

Bee Vradenburg Foundation • •

The Bloom Foundation

The Buettner Family Foundation for Al and Leigh Buettner •

The Mary K. Chapman Foundation

David and Meredith Donner

El Pomar Foundation

Cathy and Bart Holaday •

Marty Kelley •

Carolyn and Bruce Kopper

Robert D. Lee and Susan A. Ashley

Katherine H. Loo

Eileen Nobles and Robert Odien

Pikes Peak National Bank

Antoun Sehnaoui

John Street and Mary Beazley •

Pamela and Bob Allen Street Richard and Suzanne Utzke Anonymous (3)

Allegro

Bain Family Foundation

Estate of Barbara A. and Dr. Robert E. Carlton •

Phil and Carolyn Erdle

Arlen Feldman and Adriana Wood

Lt. Col. (Ret) Eugene S. Harsh in loving memory of his wife Lois E. Harsh •

Richard and Sandra Hilt

Dr. Susan Rae Jensen and Tom Adams Trainer •

Phil and Meg Kendall •

Philip and Anita Lane Dr. and Mrs. James B. Miller •

Jim and Carol Montgomery •

Cathy Morrissey and John Hassebrock

Dr. and Mrs. Steven Myers •

Nathan Newbrough •

Alan and Betty Niedringhaus

Michael and Patricia Olsen

•

• Encore Society • Board Member

Thomas Schroeppel and L. Paige Clement

John H. Strathman

Francis M.C. Thompson

Andante

Tuck and Liz Aikin

Susanne Anselmi •

Janice Baggs Ann S. Brosh

Lynn and Suzanne Claar Lewis and Karen Clark

J. Michael and Marcia Conway

Larry and Lois Dauelsberg •

Charles and Cathy Ezell

Stephanie Fernyak and Fredrik Fernyak Bengtsson

Timothy Fuller

Barbara and Don Gazibara

William and Sarah George

Walter K. and Janet G. Gerber Col. (Ret.) and Mrs. Willard S. Hartman

Nancy Hochman in memory of Bill Hochman

Helen and Bill Holmgren •

Beverly Howes-Corbin Estate

John and Joan Huntley

Dolly Wong Kast and David Kast •

In Memory of Raynelle S. Kuckel • Carmen Matei, MD

John and Helen Mauss

Marion and John Meyer

Dr. Jerome Myers and Lisa Amato-Myers

Ed and Mary Osborne

Marjorie Rapp

Elisabeth H. Rebman

Robin Roberts

Sally Sharpe and John R. King III • Vivian Teets

Mary T. and Victor L. Thacker

Nancy and Henry Thomason

Fred and Linda Veitch

Mitch and Lonnetta White

Nicole de Naray

Adagio

Susan and John Amen Dee and Paul Anderson

Robert and Janet Armstrong in memory of their parents

David Artusi

Drs. Allan and Carol Bach

Martha M. Barton •

Drs. Valerie Beck and Matthew Blum

Drs. Jim and Sheila Bee

Carolyn Beggs

Randy and Roslyn Block

Spotlight Society

Kent H. Borges and Stephanie B. DiCenzo

Ralph and Kathi Braden Ron and Una Brasch • •

Melody Golden and Mark Bryan • Judy and Duncan Burdick Brig. Gen. (Ret) and Mrs. Charles Cabell Susan Callahan

Caris Family

Christopher and Heidi Judith and Dayle Casey Skip and Terri Chang Elizabeth Chatfield in memory of my husband John N. Chatfield, MD Crista Childs

Kristen Christy and Sean Lange • Kathleen Fox Collins in honor of Bee Vradenburg

Glenn and Elizabeth Conklin Gary and Sally Conover • William and Jane Cosper • • John and Audrey Coyle

Jason and Catherine Creppon Keith and Annette Cross Lee and Janis Cross

Dr. Paul and Janet Davidson

Gary Coleman and Kim DeVilbiss Dr. and Mrs. David DuBois Charlease Elzenga-Bobo Brian and Jessica Erling • Ben and Karol Finch John Francis Ann Frank Joan B. Frederick

Larry and Barbara Gaddis Mr. and Mrs. Whitney H. Galbraith E. Marie Gardner Marilyn Gosch

Philip and Ellen Goulding

Jerry Grage

Alan Gregory

Sam and Mary Alice Hall

Grant Langdon and Robyn Hamilton Barbara and Phillip Haram

The Hayes Family Foundation

Drs. Michael and Cassie Iliff and Hearing Consultants

Cindy and Mike Heer Andrew Hershberger Creative Walter and Katherine Hieronymus • Andrea Barker and Brian Hofflander Bing Promotional Products • Mikell and David Humpert Donald P. and Gwendolyn Jenkins Linda L. Johnson Lisa and Sean Keenan Helene Knapp Drs. David Koukol and Gayle Gilroy Mrs. Marvin L Kramer David and Stephanie Kunstle • Karl and Shannon Lackler Bob and Katie Lally

Marcia Lee

Chris and Kathleen Lennon • Kessa A. Libby Donald R. and Marie A. Logan • David and Heather Lucas Lisa A. Mason

Kathy and Dick McCaskill Karen and Michael McDivitt Christina McGarry Alexandra McKellar

Jon and Becky Medved Patricia Michels

Lance and Brenda Miller • • Scott and Ann Miller Ken Montera and Theresa Stahura • Mr. and Mrs. Edwin Montgomery • Bob and Barbara Morris

James Morrow and Dean Meyers Rebecca Mullane Charles and Mary Lou Murphy Dave and Leah Niedringhaus Ilse Maria Owens Jim and Sandy Pagonis Beth Phillips Fran Pilch • LTC (Ret) Garry and Nancy Pittman

Susan and John Potterat

Susie Ramsay

Constance E. Raub Lisa and Bob Rennick Kathleen S. Ricker

James and Eulalie Ringe Don and Lynn Roberts

John and Trudy Roberts

Brad and Mary Kay Rockwell • Timothy and Anita Russell Margaret and Andy Sabin • Robert and Susan Sallee George and Jeri Sape Mr. and Mrs. Gregory Shafer Peggy Shivers

Pamela Shockley-Zalabak • Wayne and Betz Smisek and The Lawrence Dryhurst Gallery John Standish John and Carol Stansfield

Jeanne and Randy Stiles Jordan Strub and Michele Strub-Heer • Tina Sverdrup for Johan Doris Tavernier-McLeod

Darryl and Terry Thatcher

Alice Marie in memory of David H. Thomas

Sonja M. and CWO(Ret.) Hazen Thomas, Jr. Ms. Frederica A. Thrash • Tiemens Foundation •

Jean Tiemens and Herb Comet Dr. Robert Tinker and Ms. Mary Tinker-Bartz Richard and Marjorie Torsiello

Marilyn Turner

Mr. and Mrs. R. Thayer Tutt, Jr. Dr. Caroline and Harry Vulgamore Lynn Waite

Welkin Sciences, LLC Jim and Patti White

Robert and Mary Ellen White Todd and Nancy Whitford Annabel Widney

Donations received September 2, 2021 through September 2, 2022

$50,000 and higher

Colorado Springs Philharmonic Foundation

$20,000 and higher

Colorado Springs Philharmonic Endowment of the Bee Vradenburg Foundation

$10,000 and higher

John and Margot Lane Fund

Gary and Pam Mahle

$5,000 and higher

David Doughty and Shirlee Kelley Doughty

Stephen and Maxine Glassey

James H. Henderson

Mr. and Mrs. William Hybl

Anonymous (1)

$2,500 and higher

Jean Bodman

Dora Kellstrom

Dr. Cynthia Rose

Kathleen Standing Drs. Michael and Nga Turner

$1,000 and higher

Mrs. J. R. Brusenhan

John and Jane Dallager

Mike Edmonds • Col. (Ret.) Robert and Gayle Emmons

Carol Erickson

Martin and Ursula Frick Ms. Connie W. Frohring

George Garro Karlyn Greenway

Steven and Cindy Harline

Gerald Herring Bill and Jeri Huffstutter

Robert and Sondra Jackson

Julie E. Cheek Fund

Kathleen Fox Collins Fund

Jerry and Janice Kinsley

Casper-Apple Fund

John and Becky Marzolf

Madonna Miller

Don and Dorothy Nelson

Bobby Phillips II

Robert H. and Peris Smith Fund

Kathleen and Russell Rowland

Mary Elizabeth Ruwell

Edward and Virginia Sague

Skeggs and Hutchins Family Fund

Margery Tadder

Rob and Maureen Taylor

Charles and Karen Walter

Kathleen Yasumura

Anonymous (4)

$500 and higher

Sean Bailey and JeriAnn Cline Charlie and Paula Baughman Alyson Boye

David and Karen Brown

John and Dianne Burdekin

Glenn and Sherry Butcher Edith S. Davenport

Al and Linda Demarest

Scott and Beverly Foster

General Fund

Kevin Giammo

Chris and Barbara Grossman Dayna Hayes

Ernie and Jeanie Hinck

Roberta Howery

Mrs. Mary C. Idle

Larry and Chris Jones

William Kasper

John and Lyn Kerschen

Kate Kirkendall and Eric Dyer

Rex Kramer and Cindy Crater

James and Cheryl Larkin

Alina Matson

Jerry and Betty McLain

Dr. and Mrs. Mark and Jeannie Menich Mark and Deb Minich C.J. Moore

Angus and Gail Morrison James and Charlene Needham Donald and Sally Nissen

Encore Society • Board Member

Dr. Michael Onstad and Susan Wood-Ellis Gretchen Pabst

Phil and Gail Pennington Yvonne Prichard

Mike and Ruth Quinlan

Jeffrey Rapp Shery and Tim Reid

Lt Col (Ret) Mike Russo

Gail A. Rutherford

Joan Schimmel

Gene M. Schroeder

Charles and Susan Scott

Bill and Ann Seybold

Yonge and Naomi Simmons

Larry and Patrice Stevens

Greg and Emily Strutton

CMSgt. and Mrs. John J. Suhar Claire Taber

Edward and Lynn Texel

Timothy L. and Cynthia L. Trowbridge

Mrs. C. Wesley Tyson, Jr.

Julie and Wolfgang Uhl

Sam and Janet Wallace

Darrell and Beverly Weaver

William and Nancy Wehner

William and Mary Lou Mullin Fund

Mr. and Mrs. Joe Woodford

Judy H. Yates

Mr. and Mrs. William Zynen Anonymous (4)

Friends of the Phil

Donations received September 2, 2021 through September 2, 2022

$250 and higher

Kim Arnn

Leah and James Ash

John Atkinson and Nancy Bentley

Sandra Besseghini

Brent and Sheryl Botts

In Memory of Leon Kirk

Helen Brown

Betty M. Bullard

Susan Bussard

William and Paule Calvert

Bruce and Ashley Carlson

Paul and Sherry Clarkin

The Cotter Family

Judy and Chris Cunningham

Jane Delaney and Jim Sweeney

Becky Dunlap

Ed and Jeanette Elton

Joel and Jan Ernster

David and Judy Finley

Tad and Melissa Foster

Susan M. Frazee

Hon. David and Kim Gilbert

Mark and Esperanza Griffith

Michael and Fran Hamilton

Mr. and Mrs. Christopher Hanks

Mr. and Mrs. Gary Havens

Nancy Hobson

Bob and Nancy Hollins

Mark and Cindy Holthouse

Robert and Sara Howsam

Mary W. Koepp, CW4

Linda Kopman

David and Jane Koskela

Jane Looney and Charles Bordner

Albert S. Lubran in memory of Donna J. Tanner

Phil and Diana Mace

Nancy Taylor and Tom MacHamer

Hank and Sally Maertens

Joan R. Magee

Michael and Andrea Mai

Brian and Jeanne Marsh

Pamela and Steve Marsh

Dr. Scott McClure and Ann Krupski

Kelley and Anne McCready

Mr. J.R. and Rev. Dr. Eunice McGarrahan

Pat Meyer

Dave and Liz Mott

Joseph F. and Cecilia A. Nerad

David and Linda Overlin

Mrs. John R. Overturf

Sandra Patton

Denis and Beverly Pirio

Nancy and Bill Polk

Richard Porter, U.S. Army (Ret)

Rick and Kathie Quinlivan

T.J. and Jill Rarig

Ann B Reeverts

Donald and Caroline Robinson

Ted and Nan Rubley

Joyce A. Schmaltz

Mr. and Mrs. Mike Schmidt

Maryann and Gary Schneider

Patricia Cruser and B/G Jack Shuttleworth

G. Vance and Elaine Smith

Leslie J. Smith

JoAnn and David Supperstein

Frank and Marilyn Szorc

Ben and Nancy Tefertiller

Bob and Elaine Thompson

Ken and Pam Thompson

Chris and Karen Trujillo

James D. Vaughn Jr

James and Mary Waddle

Alexander L and Joan S Ware

Charles and Judy Warren Dick and P.J. Wenham + Dr. and Mrs. Clyde H. Williams III Harold and Margaret Zimbrick Mark and Jan Zimmerman Miriam G. de Plomb

Anonymous (2)

$100 and higher

Jason Adams

Nancy Alessi Jeffrey Alexander Kirk Anderson

Bonnie and Paul Angotti

Caryn August Dr. Bea Babbitt

Peg Bacon and Julia Tanner

Erin and Martin Bangert Dan and Jeanette Bare Tuhr and Sue Barnes

William and Linda Bayles

Debbie Beatty

Donna Becker

Dave and Dawn Bergacker Julienne Bergen

Michael and Sheila Michael Berman

Mary J. Bernard

Kevin and Leslie Blackham Janna Blanter

Lisa T. C. Blattner, Esq. Dale and Diane Bokowski

Martha Hopkins Booth

Lisa and Robert Bowker

Mr. and Mrs. James Bradish Mr. and Mrs. Tom Brandon

Murphy and Cristina Brasuel Greg and Francie Brent Terry and Genie Brown Rice and Jan Brown

Bruce and Linda Buksar

Pati Burleson

Steve and Ingrid Burnett Thomas Bussanich

Rev. Roger Butts

Aaron and Suzanne Byerley Campbell

Mary K Carlson

Jo and Cindi Carroll Col. (ret.) and Mrs. Michael Case Suzanne Chance

Janet F. Chappell Graeme Cloutte

Jerilyn Combs

Robbin Conner & Myrene Conner Avis and Curtis Cook

Ray and Margaret Cornell Craig and Elizabeth Cornwall Leonard Courson Susan Cowles

Janet Burge and William Craighead Owen Cramer Sally Crompton James Crosbie

Bob and Sheila Crowder

Gayle and Ken Datson

Heather, Jason, and William Daugherty

Barbara Davison

Col. Mark Dempsey Kevin Detlefsen

Linda Dickson

Herbert and Belle Dienes

Gary and Carolyn Dimig Mark and Kathi Dittrich

John and Carol Doherty to honor the memory of Bernadine Doherty

Samantha Dolecki

David Doman and Virginia Carlson Nolan Dotter

Stan and Donna Downes

Mr. and Mrs. Robert Duckworth Jayde and Christy Duncan Ron & Paula Sheila Dunn

James and Sandra Duve Garry and Sharon Dykes-Modlens

Cheryl Eaton

Amy Eckert

Catherine Edson Harold and Estelle Eichenbaum Linda and Russ Elsberry Rose Enyeart

Evelyn Epperson

Jon Thomas and Jan Erickson

VADM and Mrs. T. T. Etnyre Kenji and Janice Farinelli Jim and Sandy Fariss

Ron Farmer

Libby Foster in memory of Dr. Robert E. Carlton Harold and Vicki Franson Stephen D. Fuhrmann

Julia Furrer Stephen Gannon Larry and Margo Gerber David Jedrejcic and Michelle Glorie John and Sandy Goddard Kay and Bob Golden Elsie M. Gonsholt

Sharon A. Gould

Dr. David and Paulette Greenberg Karl, Janelle, and Wells Hall Kenneth and June Hallenbeck T. Lyle and Pam Harlor Eric and Phyllis Harriel Ann E. Harris Janice Harris

Tip and LaVonne Harris Michael and Laura Hatler Cheryl Hayman Judith and Tom Hebda Gerhard and Helga Hentschel Carolyn and James Hesser Karen Hoag Carolyn S. Hodges

Fritz Hoff Betty Howard Gary and Margo Howe James and Sarah Howell Nita Huelf

Steve and Cindy Ingersol Jay and Marci Jacoby Stover and Terry James Ms. Sandra Johannsen Craig and Ramona Johnson Ronald Johnson and Janet Wilcox Ellen and Barry Johnson-Fay Sven Jonasson

Bart and Mary K. Jones Mr. and Mrs. Robert Jones

Gladys Joyet Elizabeth M. Kane

Young J. Kaussen Thomas and Donna Keenan Shirley Kempcke

Jeff and Bonnie Kent

Colonel Ted Kerr and Polly James and Eileen Kin

Janet Knox Sherrie Denton and Ed Koditek James and Krina Komadina Donald and Linda Kraft

Jack Kring and Allison Jones

Robert and Frances Kruse Howard and Karen Kunstle

Dr. and Mrs. Neal Lamping Connie Langenecker Jim and Ann Lauer

Martha Laughman Linda D. Le Mieux

Rosemarie LeBlanc

Christopher and Kiersten Lehmkuhl

Lisa Noll and Eric Leonard

Claudia M Lyon

Cory Lyons Charli MacKelvey

Paul Malek and Patricia Kule

Kris and Kerry Maletsky

Jay Mann

George and Joyce Martin Martin

Mr. Phil S. Martin

Norah Mazel Teresa McAuliffe John R. McIlvennan

Mary Elizabeth McKinley Ralph McLain Mary Ellen McNally Noreen McQuinn

Paula and Frank Megorden

Dr. and Mrs. George Mellott

In honor of Willard and Mary Cox

Chris Meyer

Dr and Mrs Phil Middleton

Shirley Miekka

Donald and Linda Miles

Gary and Gwynethe Miller

Robert and Deborah Miller

Mr. Martin Montoya

Ms. Ann R. Moore

John Morgan and Jackie Duff

Robert Morris

Mr. and Mrs. Vladimir I. Muchnik

Daniel Mulloy

Skip and Cathy Mundy David & Lynne Murray

Barbara S. Myers

Ron and Jan Myers

Pat and Pete Wilson

Brian Neuhauser and Margaret Kasahara

Helma Newton and Dr. Peter Newton

Lloyd and Barbara Nordhausen

Stephen R. Nulty

Rose Numair Bonnie Nuss

John O’Keefe

Robert and Marilyn Overeem

Judy Owsley

Wynne Palermo

Ann B. Payne

Dale Payne

Inge Pear

Bob and Lori Perry

Kimberly Peterson

Norm and Lynn Peterson

Warren and Verna Peterson

Joyce Piersant

Carole and Kim Pirri

Toni and Walt Pleimann

Lovena Porter

Charles and Joy Pullen

Vicki Quinn

Rick and Lori Randall

Bill and Jorji Raskob

Dr. Judith Reynolds

Susan Richards

Horst and Helen Richardson

Greg and Sharon Robinson

Judith Rogers

Ruth Roland and David Petersen

Judith Rowe

Paul and Virginia Ruths

Kathleen Ryan in memory of Dr. Robert E. Carlton

Roy and Kaia Sailor

Katherine Armstrong and Joanne Sanders

Joseph E. and Jo Anne Santa Robert L. Sapashe

Ralph D. Sauer

Harry Schiff David Schmitt

Gretchen S. Wolf Sandra Schulze

Suzanna Schulze

Ulrich Schwartz

Kevin and Monica Shaney

Lawrence F. Sharp

Dorothy Shaw Sid Shelton and Robbie Limpert Gail M Shetler

Encore Society

Maryann Shirer

Rachel Short

Alan Siegel and Edie Greene

Gordon and Linda Silver

Jim Singleton and Marjorie Turpin

Bruce and Dorthy Smith

James G Smith and Ina Mae Smith

Kim Snowdon

John Snyder

Bob and Marianne Stauffer Dr. Frederick A. Steckel

Catherine Steele John and Gail Stevens Mike and Navarre Talbott Leland W. Tatum

Lynn and Ed Texel

Kent and Nancye Thayer

Charles Guy Theriot

Roger and Rebecca Thomas J.R. and Laura Thompson

Charles and Mary Ann Todd Dean E. Tollefson and Brenda G. Mensink

Lynda Torres

Karen Travis

Dorothy Turner

Kathryn Van Metre

David and Karyl Vasquez

Larry and Jo Anne Vaughn Don Verhaeghe and Jeri Jorgensen Rommel Villalobos

Jerry and Cori Vreeman

Bob Wagstaff

Betty and Brent Waldron in memory of Dr. Robert Carlton Ray and Carol Wallander Craig and Patti Walter Ruth Warkentin

Thomas and Rachelle Washburn

David Watts

Gregory L. Waybright

Harriet and Larry Webster Al Weiner and Anne Wilkes

Michael and Heather Wells Stormie Wells Trudy Wells

Rex Welshon Sandra TerMeer and JJ Weston

Einsweiler and White

Montgomery White

James Wickers

Marshall and Vivian Wiley

Elaine and Richard Wilkinson B. June Williams

Billie Ann and Sam Williams

Summer Williams

Boyce W. and June J. Wiltrout Starr Wise and Pat Taubler

Tina L. Wisler

Dick and Carolyn Woods

James Yount

Tom and Teresa Zepf Al and Jean Ziegler

Diane Ziemer Anonymous (16)

Donations received September 2, 2021 through September 2, 2022

Encore Society members have remembered the Colorado Springs Philharmonic in their estate plans. Endowment funds are managed by the Colorado Springs Philharmonic Foundation. Visit csphilharmonic.org/foundation for details.

Peter J. Adasek, M.D. Alice B. Wolf Revocable Trust Susanne Anselmi • Carolyn Bassett Bee Vradenburg Foundation • • Estate of Eleanor B. Bell

Estate of Ronald J. Berner in memory of fellow music lover, Earl L. Kruschle, PhD Ron and Una Brasch • • Estate of Harriet Brundin

Melody Golden and Mark Bryan • R.J. Campbell in memory of Diane Campbell Estate of Barbara A. and Dr. Robert E. Carlton Kristen Christy and Sean Lange •

Estate of Jean P. and James F. Collins, Jr. Gary and Sally Conover •

William and Jane Cosper • • Larry and Lois Dauelsberg • Janet Clement Doades Estate of Julie Cheek Estate of Cynthia P. Estes Judy Fair-Spaulding

Regina and Stanley R. Flaks Family Trust Ralph O. Giddings Trust Lt. Col. (Ret) Eugene S. Harsh in loving memory of his wife Lois E. Harsh • Walter and Katherine Hieronymus • Estate of John Hobson Bing Promotional Products • Helen and Bill Holmgren • Estate of Harold C. and Barbara Ingersoll Dr. Susan Rae Jensen and Tom Adams Trainer • Marty Kelley •

Phil and Meg Kendall • Estate of Lillian M. Key In Memory of Raynelle S. Kuckel • The Estate of Margot Lane Chris and Kathleen Lennon • Donald R. and Marie A. Logan • Dr. and Mrs. James B. Miller • Lance and Brenda Miller • • Mr. and Mrs. Edwin Montgomery • Jim and Carol Montgomery • Dr. and Mrs. Steven Myers • Rosemarie Scibetta Offord

Estate of Betty Olei Michael and Patricia Olsen • Fran Pilch •

Brad and Mary Kay Rockwell • Miriam Schinnerer

Cheryl and David Schwartz Estate of Dr. Robert and Persis Smith

Joan Strating Jordan Strub and Michele Strub-Heer • Estate of Richard J. Superak

The Paul Eugene Towner Estate Ms. Frederica A. Thrash • Estate of Mildred D. Tutt Dick and P.J. Wenham

Estate of Don and Josy Whaley Thomas G. Wilson

Estate of Karl and Kirsten Wittmaack Estate of Priscilla S. Wright Donald Zimmermann, DMA

• Maestro’s Circle • Encore Society • Board Member

PAID Colo. Spgs,