The Future Orchestrating
After 96 years of performances, the Colorado Springs Philharmonic knows about legacy. At every concert, we honor the generations who came before, and who expect us to carry on. Legacy matters, but only if we keep going, creating connections, and discovering a future of service for all.
Inspiration comes from the music itself. In these pages, we dive deep into the audacious courage of the unlikeliest heroes. T’Challa (the Black Panther), Don Quixote, and the sacrificed crusader – Egmont – whose stories remind us of the very human power to see beyond challenges and struggle for a world not yet in our grasp. Each hero is depicted in music, and will be featured in the performances to come.
A spark of insight comes as we honor the friendship of our own Josep Caballé-Domenech and cellist Jan Vogler, whose bond goes far beyond music itself.
And a vision of the future is unfolding. Board chair Pamela ShockleyZalabak shares some details concerning the search for a Music Director to succeed Maestro Caballé-Domenech, carving a new path for the musicians and patrons of the Colorado Springs Philharmonic.
Legacy carries an obligation to keep going. It’s a quest made for bold hearts, and a community of passionate music lovers who dare to believe in the future.
Music director Josep Caballé-Domenech will conclude his twelve-year tenure in May 2023. This transition, and the burgeoning music director search, promises to be a time of rediscovery for our Colorado Springs Philharmonic. We sat down with board chair Pamela Shockley-Zalabak to ask some timely questions.
The search has begun. What is the progress so far?
We are thrilled to announce the formation of the music director search committee, which consists of musicians of the orchestra selected by their peers, dedicated community volunteers, and esteemed board members. We have begun accepting applications from conductors from around the globe.
Who is leading the search?
The board of directors and musicians of the orchestra have together formed a 14-member music director search committee, chaired by Fran Pilch, a pianist, historian, author, and retired USAFA professor. The Search Committee will review applications, conduct research and interviews, select candidates, collect feedback from musicians and audiences, and ultimately recommend a candidate to the board of directors for consideration.
How will candidates be chosen? What will happen when they arrive?
During our previous search, we received 250 applications from across the globe, and our committee will have a big task in reviewing all the qualifications of these candidates. While we are naturally seeking a talented conductor, we are also looking for a leader who will fit well within our community. Ultimately, the most important aspect of the search will be when a select group of candidates have the opportunity to work with the Philharmonic musicians and perform for our audience.
Tell us more about the timeline.
The timeline is unspecified … intentionally! The search will be over when the right person is identified. We want to do it right, which means taking the time to find the right person and the fit for the community and our wonderful musicians.
Who will be conducting in the upcoming 2023-24 season?
We have invited ten excellent conductors – each with superb credentials and mastery of their craft – to be our guests for the Masterworks and Signature series. Our very capable associate conductor, Thomas Wilson, will also play an essential role next season.
How does this feel for you as chair?
I am grateful. Grateful that our search process has the trust of the musicians of the orchestra and the patrons of our audience. And I’m grateful for the time and efforts put forth by our Search Committee. I am so incredibly proud of everyone involved.
Any other thoughts to share?
We will honor our friend Josep Caballé -Domenech by finding the best possible successor to follow him. What’s more, a music director search can be invigorating for everyone, including our beloved musicians and neighbors in the audience. This is a time of discovery and collaboration, opening our eyes to a new musical world. What a wonderful time to be involved!
A conversation with board chair, Pamela Shockley–Zalabak, about the search for our next maestro
The Creative Collaboration of Jan Vogler and Josep Caballé-Domenech. An Homage to Friendship.
In the course of his illustrious career, Mr. Vogler has shared his enormous gifts with Andris Nelsons, Fabio Luisi, Sir Antonio Pappano, Valery Gergiev, Thomas Hengelbrock, Manfred Honeck, and Kent Nagano. His work and workmanship have also endeared him to our own Josep Caballé-Domenech, esteemed Music Director of the Colorado Springs Philharmonic.
Many of us grew up believing in the myth of the solitary genius. But as it is with stories of beloved heroes, the truth is often embellished or tinted with shades of the fantastic.
Michelangelo may have toiled alone with his genius on a scaffold in the Sistine Chapel for five years. But he was known to have spent his entire life measuring his work against the towering accomplishments of Ghiberti, Donatello, and DaVinci.
Tolstoy was another master who came to us with a virtuoso’s reputation. Yet while he scribbled out the pages of War and Peace through chill winter nights with a flickering candle at his elbow, history assures us the old man’s pen was guided by the inspiration of Blaise Pascal.
So it was, and so it is.
Even our most iconic musical figures have depended on special relationships in order to flourish, artistically and intellectually. (Beethoven’s competitive fires, for instance, were said to have burned all the more fiercely at the mention of Joseph Haydn’s name.)
Most musicians live and work in the company of other talented performers whose rare gifts and pointed insights have helped enrich and challenge the understanding of their art.
Our guest soloist, Jan Vogler, is a case in point. Star cellist, Director of the renowned Dresden Music Festival, Mr. Vogler’s distinguished career has placed him on stage with acclaimed orchestras throughout the world, including the New York Philharmonic, Leipzig Gewandhaus Orchestra, Deutsches Symphonie-Orchester Berlin and the London Philharmonic among others.
It’s Mr. Vogler’s reputation for creative collaboration, however, and not just his work with a bow, that has made him a favorite of world-class conductors.
Jan and Josep have enjoyed the spotlight together at Moritzburg, performed together at the Bogotá International Music Festival, and in their private lives entertained an artistic camaraderie that has inspired, challenged, and elevated their appreciation of great music.
It’s an impossible errand to explain in words what’s better understood through music. So allow me to pause here, instead, and recommend that, come January 28 and 29th, you find yourself a comfortable seat and let the magical sound of an acclaimed classic win you over on its own merits.
Don Quixote—a tone-poem written by Richard Strauss—is our featured performance of the new year. Its composition is that of a romantic narrative in which the solo cello (Vogler) plays the role of the hero, Don Quixote, while various other instruments including another sensational guest, violist Matthew Lipman, make their thoughts known through the tragi-comic voice of the knighterrant’s faithful squire, Sancho Panza.
Subtitled Phantastische Variationen über ein Thema ritterlichen Charakters (Fantastic Variations on a Theme of Knightly Character), Don Quixote is at once dramatic, fantastic, and breathtakingly passionate. It poses the eternal question, “What is real, and what is not?” and come its conclusion, appears to arrive at the mercurial answer, “What is real is magical, and what seems magical is real.”
Take note of the subtle interplay between cellist, orchestra, and conductor as you listen to this lovely score. Not only will you hear the richly-hued voice of Mr. Vogler’s Stradivari ‘Ex Castelbarco/ Fau’ 1707, the soaring phrases of the orchestra, but the exquisite influence of Josep Caballé-Domenech’s masterful baton.
No man, as the great John Donne once wrote, is an island. Each owes a debt to the other, and each must take his or her turn holding the lantern while the other explores the unknown. Such is the way of things. Together we illuminate the magical possibilities of life.
“Vogler has the ability to make his cello speak like a singing voice.”
The Frankfurter Allgemeine Zeitung
CAREER HIGHLIGHTS
Jan Vogler’s fearless exploration of the cello’s sound boundaries has earned him a reputation as one of the world’s foremost musicians. His world-premiere performances have featured the works of Tigran Mansurian, John Harbison, Udo Zimmermann and many others, and his extraordinary dialogue with contemporary composers and artists has inspired hundreds of unique collaborations, including a joint musical-literay project with Bill Murray called “New Worlds” where the works of Twain, Hemingway, Whitman, and Cooper, are compared and contrasted with the immortal music of Bernstein, Bach, Mancini, Gershwin, and others.
See Josep Caballé-Domenech and Jan Vogler once again on Jan 28 and 29 performing Richard Strauss’ Don Quixote
Tickets at csphilharmonic.org
Confronting the Status Quo: A celebration of three unlikely heroes and their quests for reform
All heroes are ‘unlikely’ in their own way. Maybe this is why we feel such an affinity for them. Like us, they begin as everyday people living ordinary lives. Then, owing to circumstances not of their making, they’re plucked from the comfort of their hearths and homes, and impelled to take up battle against foes mightier than themselves.
A trio of upcoming concert evenings treats the listener to stories of three unlikely heroes, all of whom were inspired, in their own way, in their own time, to rage against the institutions that have failed them, and their society.
The men are Don Quixote, knight errant...T’Challa, the Black Panther, King of Wakanda...and Lamoraal, the Count of Egmont, a 16th Century nobleman whose denunciation of Spanish authoritarianism made him the celebrated subject of a play by Goethe (Egmont) and musical interludes by Beethoven (Op. 84).
All three of these heroes have embarked on a perilous quest to save themselves and their countrymen from a toxic future. But to prevail in their journeys, they’ll need to overcome more than their own fears. They’ll need to confront, and reform, the monolithic power structures society has placed in their way.
When T’Challa ascends the throne of Wakanda, confident in his abilities to rule the peaceful realm he’s inherited, his father observes with otherworldly patience, “It is hard for a good man to be king.”
What T’Challa’s father doesn’t say is that goodness—idealism, virtue, righteousness—while laudable in the abstract, is a difficult standard to keep unstained when exposed to the imperfections of a flawed world.
In Don Quixote, the hero’s journey is subdued compared with that of T’Challa and Egmont, though it, too, is a quest meant to right the institutional wrongs of its day. The Knight of Sad Countenance is a gentle reformer, and his romantic vision is to undo the entrenched incivilities of the modern age by reviving the chivalric spirit of Spain’s glorious past.
Plot-wise, each of our hero stories tugs its narrative strands in a different direction. But at their center, each celebrates the drama of
a stouthearted, well-intentioned reformer determined to confront a status quo that has lost its purpose, or outlived its usefulness to society.
Egmont is the true-life example of the hero’s quest. His story is real. With the Catholic reformation underway and his country’s autonomy at stake, the brave nobleman defied the powers of an unjust Spanish overlord, only to lose his campaign, along with his head, in the same fateful stroke of the executioner’s axe.
There’s no denying it. The hero’s life is a precarious one. Yet, these are the stakes we face when we attempt to orchestrate a future. Successes and failures go hand in hand, and not all endings are happy—at least not in the conventional sense.
The trick, here, is to look beyond the moment, into the future. For it’s there where the hero’s work truly shines, and where we are allowed, at last, to glimpse the fruits of his/her grace and courage.
T’Challa saves his throne and country by rejecting Wakanda’s doctrine of isolation and embracing a mindset of universal justice and the sharing of the planet’s resources.
Egmont’s death inspired free men to take back their lands from tyrants.
Don Quixote brought us renewed hope for the world’s future through a gentle spirituality, demonstrating—even against impossible odds— that great moral victories can be achieved through powerful dreams.
The world loves heroes.
The world longs for heroes.
Unlikely as it seems, even you, or I, could be the world’s next. But no need to worry, it will only happen when you least expect it.
And with help from music lovers like you, we are very close to meeting the moment.
All new or increased gifts will be matched up to $150,000 toward the Permanent Endowment. Special thanks to Cathy and Bart Holaday, and the Bloom Foundation for this opportunity. And thank you to our generous friends who have already contributed to the challenge.
Want to play a part? Learn more and make a gift at csphilharmonic.org/forever
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Maestro’s Circle Welcomes You
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Now Hear This: Upcoming Concerts to Mark on Your Calendar
Tango Piazzola - Argentine composer Astor Piazzola wrote his own delicious tango response to Vivaldi’s “Seasons,” a rollicking, foot-stomping tour of Buenos Aires.
Sat. Jan. 21, 7:30pm | Sun. Jan. 22, 2:30pm
Don Quixote - Local favorite cellist Jan Vogler rejoins Josep Caballé-Domenech and the Philharmonic to “play” the knight himself, Don Quixote de la Mancha, with a theme as noble and graceful as Cervantes dreamed him to be. His loyal servant Sancho Panza is played by violist Matthew Lipman.
Sat. Jan. 28, 7:30pm | Sun. Jan. 29, 2:30pm
Some Enchanted Evening - Spend Valentine’s Day weekend with more than a few of your “favorite things” with the best of Rodgers and Hammerstein. Hear showstoppers from The Sound of Music, Oklahoma!, South Pacific, and more.
Fri. Feb. 10, 7:30pm | Sat. Feb. 11, 7:30pm
Tickets: csphilharmonic.org