CMF/CMA appoints new executive director

Elizabeth McGuire comes to Boulder from the Cheyenne Symphony

By Peter Alexander

The Colorado Music Festival and Center for Musical Arts (CMF/CMA) has announced the appointment of Elizabeth McGuire as their new executive director, effective May 9.

CMUSIC-Logo-Horizontal1024x192-withJMZ-1024x192

McGuire is currently executive director of the Cheyenne Symphony. She will succeed Andrew Bradford, who left the CMF/CMA on March 25. Bradford had been executive director for 18 months. Before Bradford, the position had been open for a full year, during which time there had been one failed search for executive director (ED), and the position of musical director (MD) was also open.

“I feel honored to be chosen to do this,” McGuire says.

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Ted Lupberger

In a statement from the CMF/CMA, board president Ted Lupberger commented, “We’re delighted that we were able to move quickly to bring Liz on board before the summer Festival season gets underway. Liz comes to us with extensive orchestra management experience that’s grounded in a solid understanding of the challenges and opportunities of the nonprofit sector.”

McGuire has been ED of the Cheyenne Symphony since 2013. Prior to that she was ED of the Tuscaloosa, Alabama, Symphony Orchestra for more than 5 years and orchestra manager of the Greater Dallas Youth Orchestras. She began her musical career as a horn player, earning a bachelor’s degree in horn performance from Western Carolina University.

“I have not played professionally in a while,” she says. “There are several reasons—one is I don’t have time. Once you’ve been pretty decent on an instrument, it’s all or nothing. You either play at that level or you regret not being able to play at that level.”

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Jean-Marie Zeitouni

Music director Jean-Marie Zeitouni noted McGuire’s professional playing experience as a valuable asset. “Liz demonstrates an intuitive understanding of programming, and she’s a professional musician in her own right. That’s exciting—and it’s requisite to help fulfill out top priorities.”

McGuire says she is excited about the future of the CMF/CMA. “What I’ve seen more than anything is an organization that’s really done their homework and gone through a large strategic planning process,” she says. “They have that ready to go now. There were some really great ideas in the strategic plan that I’m excited about.”

Above all, it was the level of music making at the CMF and CMA that drew McGuire to the job. “What motivates me to do what I do has always been about music itself.

“When I saw the extent of the programs offered by the Festival and Center, and how they provide opportunities not only to participate in music-making, but also attend live performances and interact with some of the world’s greatest musicians, I was blown away.

“In some ways it’s maybe selfish, because I think I’m going to enjoy (the music) as much as (people in the audience) do.”

She recognizes the importance of the festival to Boulder’s musical life, and to its audiences. “I know how important it is,” she says. “I can see speaking to the board and the staff how much of a heart and soul that organization has, and how important it is for me to make sure I’m the best caretaker that I can be.”

Colorado Music Festival faces another transition

Executive director Andrew Bradford resigns after 18 months on the job

By Peter Alexander

The Colorado Music Festival (CMF), which underwent a full change of leadership and administration 18 months ago, faces another transition.

Bardford

Andrew Bradford

Andrew Bradford, the executive director who was hired in the summer of 2014 and started work Aug. 11 of that year, announced last Thursday (Feb. 11) that he had resigned, effective Friday, March 25, 2016. Bradford is leaving to take another position, which will be announced soon.

When Bradford was hired, the position had been open for a full year, during which time there had been one failed search for executive director (ED), and the position of musical director (MD) was also open.

The larger organization that Bradford heads includes the CMF, headquartered at Chautauqua in Boulder, and its affiliated educational arm, the Center for Musical Arts (CMA), located in Louisville.

Bradford and others say his departure will not affect the upcoming 2016 summer season. Bradford has worked with Zeitouni and the CMF staff to plan the 2016 festival, and will be in place through the public announcement of the season on March 2.

“I’m staying through the end of March, and I’ll be working full steam ahead 100% until my very last day,” he says. “We’re going to all work together to make sure that the transition is as seamless and as smooth as possible.”

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Edward Lupberger

The CMF/CMA Board of Directors will oversee the transition to the next ED. Edward (Ted) Lupberger, who became the board president last month, says the directors will appoint an interim director, probably from inside the organization, and then begin a search for a permanent director.

“Right now we’re addressing what’s the best mode for moving forward,” he says. “We’re definitely starting a search, but we’re also going to the people that did the search (before). Some of the people at that time were close candidates, so we’ll start pursuing those as an option, but also in the short term before that, what we’re doing is going to the staff.

“We have a really strong staff that know how to produce a festival, they know the CMA, they know the donors and what we need to be planning for. We probably will give an interim title to someone (from the staff), because it seems that’s the prudent thing to do, and it conveys to the community that we have a person in that leadership role.”

Because he is new to the president’s job, Lupberger said he would continue to work with a team that forms “kind of an executive committee” within the board. That group, comprising Lupberger with board secretary Jane Houssiere, treasurer Dave Brunel, and director Caryl F. Kassoy, worked to facilitate Lupberger taking on the role of board president, and they will continue to work together during the search.

At this time, Lupberger says, there is not yet a specific timeline for the search and hiring process. “I’d rather take more time and get the right person than go quick and get the wrong person,” he says.

# # # # #

Over the past year, the CMF/CMA has been developing a strategic plan for the organization’s future, guided by a consultant who specializes in the arts and non-profit sectors. According to Lupberger, the consultant’s recommendations, which have only recently been given to the board, include directions on how to be ready for administrative changes. “It just happened sooner than we expected,” he says.

“There’s directives for the board in what we should be doing to better support the organization, there’s directives for staff on how to do operations and what things we need to be focusing on.”

While the 100-page consultant’s report has not been made public, Lupberger does not plan on keeping the board’s plans secret. “We are working on more of an executive summary, and then I think we all want to get the world to know what we’re planning,” he says. “It’s not going to be shocking.”

Both Lupberger and music director Jean-Marie Zeitouni praised the condition of the organization after Bradford’s 18 months in charge. “We’re a very healthy, strong organization,” Lupberger says.

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CMF music director Jean-Marie Zeitouni

Bradford “was a very strong asset (to CMF),” Zeitouni wrote in an email from Montreal, Canada, where he lives during most of the year. “To his credit, we are in a really good place right now: The staff is strong and enthusiastic, the board is really committed and involved, our budget is approved, the festival season is all planned and we are moving along nicely towards long-term artistic planning.”

Bradford and others have mentioned an 18% increase in ticket sales in 2015 from the previous year’s summer festival as a basis for the CMF’s current strength. While that is an important figure, the full context shows that it is a one-year increase from the 2014 season, which was the year of the music director search. Without a highly popular music director on the scene, with no central theme to the summer, and several different conductors coming in and out of Chautauqua, audiences were visibly smaller in 2014 than in the previous two or three years. Consequently, it is difficult to put the 2015 increase into the long-term context of ticket sales and revenues for the festival without consulting detailed financial records over the past five to ten years.

# # # # #

The recent history of the CMF/CMA administration provides insight into the issues faced by the board. In 2013 the organization lost both its executive director, Catherine Underhill, and the popular musical director of the summer festival, Michael Christie, in a single year. A search was undertaken immediately for a new ED to be in place before the summer of 2014, when finalists for the MD position would each lead the orchestra in a pair of concerts.

The board of CMF/CMA announced in Dec. 2013 that David Pratt of the Savannah (Georgia) Philharmonic had been selected as ED and would be in place early in 2014. Instead, he backed out in January 2014, and the board had to begin another search. Bradford was announced as the new ED in June, nearly a year after the position was first vacated, and he was present for the audition concerts by the three official MD candidates.

He and the board chose Jean-Marie Zeitouni as the new music director, announcing the appointment Sept. 8, 2014. Zeitouni conducted his first festival season last summer, July–August 2015. In the meantime, many of the top administrative positions at the CMF/CMA turned over in the first months of Bradford’s tenure, including one person who was hired early in the fall of 2014 and then left May 1, 2015. That position was covered by other staff members during the 2015 summer festival.

While no specific reasons have been given for most of the departures, Bradford is unstinting in his praise of the current staff. “I am absolutely delighted with the folks that I’ve hired,” he says. “These are fantastic, really capable people.”

Through all of this change, Lupberger believes that the CMF and CMA have remained strong. “At the end of the day, the board and the two organizations that make up the one, the Center for Musical Arts and the Colorado Music Festival, have maintained their identities—what they are, who they are—through this whole period. We have a strong orchestra, and we have a strong faculty at the Center (for Musical Arts), and that’s remained true through this whole process.”

For that reason, Lupberger remains upbeat about the future of the CMF/CMA organization. “At the end of the day, we’re talking about an organization that produces amazing music in the summer, and then educates others throughout the year,” he says.

“The core of what we do is what we should be excited about. The rest of it is less important, because what we do is a great thing and we should be proud of it and focus on that and move forward.”

_________________
Edited for clarity 2/16

New CMF music director Jean-Marie Zeitouni: “Don’t call me maestro!”

The conductor wants to build a relationship with the orchestra

Jean-Marie Zeitouni

Jean-Marie Zeitouni

By Peter Alexander

Jean-Marie Zeitouni, the new music director of the Colorado Music Festival, finds Boulder a very comfortable place to fit in and make friends.

Just don’t call him “maestro.”

He made this clear when he introduced the 2015 festival season Thursday evening (Feb. 26) at the Chautauqua Community House. “You can call me Jean-Marie or JMZ,” he said. “You can call me many things behind my back. But don’t call me maestro.”

When asked about that a couple of days later, he shook his head and made a sour face. “No,” he said. “I have played in an orchestra. There is not one master and the rest are slaves.”

This experience as an orchestra member is a very important part of the way Zeitouni thinks about his job here in Boulder. “I try to be the conductor I would want as a member of the orchestra,” he says. “The greatest goal for me this year (at the Colorado Music Festival) is to develop my relationship with the orchestra.”

One part of that relationship is to be found in the repertoire that Zeitouni, as music director, selects for the players, as members of the orchestra, to rehearse and perform. And in the season that was announced Thursday night, Zeitouni has included pieces that the musicians may be expected to relish.

For example, in addition to the usual Beethoven and Tchaikovsky and Sibelius symphonies, which the orchestra members have probably played many times, there are pieces such as Charles Ives’s Symphony No. 3 and Michael Daugherty’s Deus ex Machina that are outside the standard repertoire.

Surely some of the orchestra members will look forward to the French Baroque music of Jean-Philippe Rameau’s Les Boréades. A rarity like George Antheil’s Jazz Symphony will have its advocates. And next to the perennially popular American in Paris there is the rare opportunity to play Darius Milhaud’s response, A Frenchman in New York.

But probably nothing will be more exciting for the players than Bartók’s Bluebeard’s Castle. As with much of Bartók’s orchestral music, this is a virtuoso score that gives the players a chance to really show their worth. Although it has two singing characters, Zeitouni describes Bluebeard’s Castle as “an opera where the orchestra is the main character.” (It will be performed in Hungarian with English surtitles.)

Andrew Bradford

Andrew Bradford

Indeed, Zeitouni and CMF executive director Andrew Bradford confirm that they have already heard from members of the orchestra that this is the piece that they are most looking forward to.

Zeitouni, who lives in Montreal, will spend the summer in Boulder with his family. He readily cites Boulder’s concern for health, the environment, and the presence of many different cultural—and counter-cultural—elements as aspects of the city that he likes. “Like in Canada, you can be whoever you are,” he says. “I feel comfortable here.”

“It reminds me of the places I have been most joyous, in the Rockies of Canada, especially Banff.”

Speaking of their vision of the CMF, Zeitouni and Bradford point out that there were some limitations to what they could do in the first year. There was not time to develop partnerships that could be assets to the festival, and many potential soloists were not available on relatively short notice. That will change as they have more time to plan coming seasons.

2015-festival-icon-with-dates-300x213As for the future, Zeitouni says there is no fixed version of what any festival should be. He is clear that taking the heritage and the strengths of the CMF in consideration, they expect to move in new directions, aiming to make the summers more exciting, and to gain more national recognition for a festival that has already achieved a great deal in its history.

“We have many ideas” Zeitouni says. “We have big things in mind that we are starting to organize, but we want people to focus on what is there this year.

“What we have put together is quite good and we want to people to get excited about that.”

# # #

Read my season preview, and view a complete listing of the summer’s concert, below.

Jean-Marie Zeitouni will lead Colorado Music Festival and audiences on “a journey together”

2015 season includes expanded chamber series and “Cellobration” mini-festival

By Peter Alexander

Jean-Marie Zeitouni

Jean-Marie Zeitouni

“This will be a season to get acquainted” Jean-Marie Zeitouni, new music director of the Colorado Music Festival, told the festival’s friends and supporters last night (Feb. 26) in introducing the program for the summer of 2015.

“It will be a chance to get to know one another better, and for me and the orchestra to know each other,” he said.

The festival program that Zeitouni and CMF’s executive director Andrew Bradford laid out included features that provide continuity with past festivals, as well as elements that reflect the personality of the new music director. (The full schedule is now listed below.)

Continuity will be represented in the general layout of the festival, with weekly concerts by the Festival Orchestra and Chamber Orchestra during the season, which runs from June 26 to Aug. 9. That is a slight shift from past festivals, opening on a Friday and ending on a Sunday, rather than ending with a Friday concert by the Festival Orchestra.

There will be many elements familiar from past festivals, including Music Mash-up concerts directed by Steve Hackman; an expanded series of five chamber concerts, moved to Boulder’s First Congregational Church (1128 Pine St.); and a one-week mini-festival, this time a “Cellobration” presenting both chamber and orchestral works that feature the cello.

In introducing the mini-festival, Zeitouni joked that Bradford, a cellist, had insisted on the “Cellobration.” In fact, the programs are well chosen, and will provide audiences the opportunity to hear a foundational instrument of orchestral and chamber music in a wide variety of contexts, including solo works, sonatas with piano, concertos, and as a member of large and small ensembles.

Olga Kern

Olga Kern. Photo by Fernando Baez

There will also be some new wrinkles to the festival. One will be a solo piano recital in the Chautauqua Auditorium by Van Cliburn Competition Gold Medalist and CMF favorite Olga Kern. Another surprise will be an evening of musical humor by Igudesman & Joo. Two classically trained and exceptional performers, violinist Aleksey Igudesman and pianist Hyung-ki Joo will present their wildly popular program, “A Little Nightmare Music.”

Zeitouni’s musical personality will be reflected principally in the orchestral repertoire of the festival. One aspect is his love of vocal music, reflected in the appearance of solo singers with the orchestra; another is the inclusion of some intriguing and not always familiar bits of French music.

Marie-Nicole Lemieux

Marie-Nicole Lemieux

Those interests show up already on the Festival Opening Night (July 1). Zeitouni and the Festival Orchestra will present a program of French and Italian music—“a voyage, to start our journey together,” Zeitouni said. Like any good voyage, this one starts on the sea, with Debussy’s La Mer. Contralto Marie-Nicole Lemieux will sing Ravel’s song cycle Shéhérazade, based on poems by the eccentric French poet who adopted the pseudo-Wagnerian name Tristan Klingsor. To enhance the audience’s understanding of the cycle, the Colorado Shakespeare Festival’s Timothy Orr will read translations of the poems.

The second, Italian half of the program will include a number of operatic arias for contralto by Rossini, again sung by Lemieux, and conclude with Respighi’s colorful Pines of Rome.

The season will end Aug. 9 with “A Royal Finish,” featuring the chamber orchestra, soprano Sarah Coburn, and the Colorado Music Festival Chorus in vocal works by Mozart and Handel. Once again there are familiar pieces, like Mozart’s Exsultate, Jubilate and Handel’s Music for the Royal Fireworks. But there are also some great music that should be heard more often, including Mozart’s early Regina Coeli K. 108, and Handel’s splendid Zadok the Priest.

Composer Michael Daugherty

Composer Michael Daugherty

The remainder of the orchestral series will include popular works from the standard repertoire—Beethoven and Tchaikovsky symphonies, Stravinsky’s Firebird Suite—as well as some less familiar works that will appeal to Boulder’s musical adventurers. Among these, one has to mention the Colorado premiere of the Grammy-Award winning piano concerto “Deus Ex Machina” by the seriously hip pop-influenced composer Michael Daugherty; and the Colorado premiere of Opening Remarks by Lee Actor.

Also off the beaten path will be the North American premiere of the Festive Overture by Spanish composer Benet Casablancas; the much admired if rarely heard Third Symphony by American Charles Ives; and the even more rarely heard Jazz Symphony by the self-proclaimed “bad boy of music,” George Antheil.

Continuing the focus on vocal music will be a concert performance of Bartók’s two-character opera Bluebeard’s Castle, performed in Hungarian with English supertitles. Hungarian singers Krisztina Szabo, soprano, and Gabor Bretz, bass-baritone, will be guest soloists.

Joining nature and music, “John Fielder’s Colorado” will celebrate the centennial of Rocky Mountain National Park. Fielder’s acclaimed photos will be coordinated with performances of Sibelius’ Symphony No. 5 and Beethoven’s Symphony No. 6.

Steve Hackman

Steve Hackman

Turning to this year’s Music Mash-Up series, Steve Hackman will once again bring a completely new score, Bartók + Bjork. The other mash-ups feature an earlier Hackman score, Copland + Bon Iver, the Colorado group SHEL, and singer/actress Storm Large with her band, Le Bonheur.

Finally, Bradford has announced the very welcome return of the “Click Commission.” This program, which gives the audience the chance to select the recipient of a commission of a new piece for the following year’s festival, will now be expanded to include a mini-residency at the CMF for the winning composer.

The commission for the 2016 festival will go to one of three composers selected by the CMF: Pierre Jalbert, Hannah Lash and Daniel Wohl. Potential contributors to the program will have the opportunity to hear works by all three, and to vote with their contributions for the composer they prefer. This is your chance to pay the piper and call the tune! Watch the CMF Web page for details.

# # #

In September of last year, I stuck my neck out by offering suggestions for the future of the Colorado Music Festival. While I do not claim any influence on the professional directors and the board of the festival, I am pleased that three of my six suggestions—reinstate the “Click Commission,” expand the chamber music series, and bring back the mini-festival—were addressed in the program for the coming year. I believe that all three are integral to the unique character of the Colorado Music Festival.

Another idea I offered—that the festival should treasure its orchestra—is honored in Zeitouni’s selection of repertoire, which will certainly give the orchestra the opportunity to shine throughout the summer. This is a season that the players will enjoy.

And my preference to hear challenging explorations of music by living composers gets some satisfaction from the inclusion of works by Michael Daugherty, Lee Actor and Benet Casablancas.

With less than one year to pull a festival together, Zeitouni and Bradford have delivered an interesting season. There’s plenty for all of CMF’s diverse constituencies, and much to relish.

# # #

Subscription tickets will be available starting early in March, with single tickets going on sale April 1. See the CMF Web page for details as they become available.

# # #

COLORADO MUSIC FESTIVAL
2015 Season Program
All Concerts in Chautauqua Auditorium unless otherwise indicated

Week 1

10 a.m. Friday, June 26, and Saturday, June 27
Young People’s Concerts, program TBD
7:30 p.m. Wednesday, July 1: Opening Night, Welcome Jean-Marie!
Festival Orchestra, Jean-Marie Zeitouni, conductor, with Marie-Nicole Lemieux, contralto, and Timothy Orr, speaker
Debussy: La Mer
Ravel: Shéhérazade
Rossini: Arias from Trancredi and Semiramide
Respighi: Pines of Rome
7:30 p.m. Friday, July 3: An Evening with Olga Kern
Olga Kern, piano
Beethoven: Variations on a Theme by Salieri, WoO 73
Charles-Valentin Alkan: Etude No. 3
Chopin: Sonata No. 2 in B-flat minor
Rachmaninoff: Twelve Preludes

Week 2

7:30 p.m. Monday, July 6, First Congregational Church: Piano Chamber Music
Musicians of the CMF
Dvorák: Piano Quartet
Schumann: Piano Quintet in E-flat Major, Op. 44
7:30 p.m. Tuesday, July 7: Music Mash-Up, Bartók + Bjork
Steve Hackman, conductor, with singers TBA
Hackman: Bartók + Bjork Mash-Up (World Premiere)
7:30 p.m. Thursday, July 9, and Friday, July 10: Tchaikovsky and the Grammys
Festival Orchestra, David Danzmayr, conductor, with Terrence Wilson, piano
Lee Actor: Opening Remarks (Colorado premiere)
Michael Daugherty: Deus ex Machina (Colorado premiere)
Tchaikovsky: Symphony No. 5
7:30 p.m. Sunday, July 12: An Evening in Vienna
Chamber Orchestra, David Danzmayr, conductor, with Alexandra Soumm, violin
Schubert: German Dance in D major (arr. Anton Webern)
Mozart: Violin Concerto in D major, K.218
Beethoven: Symphony No. 2

Week 3: Cellobration Mini-Festival

4 & 8 p.m. Tuesday, July 14, First Congregational Church: Complete Bach Suites for solo cello
Bjorn Ranheim and Guy Fishman, cello
7:30 p.m. Thursday, July 16, and Friday, July 17: Impossible Dreams
Festival Orchestra, Jean-Marie Zeitouni, conductor, with Desmond Hoebig, cello
Wagner: Prelude to Tristan und Isolde
Prokofiev: Romeo and Juliet Suite No. 2
Richard Strauss: Don Quixote
4 & 8 p.m. Saturday, July 18, First Congregational Church: Complete Beethoven cello sonatas
Musicians of the CMF
7:30 p.m. Sunday, July 19: Monday July 20 in Estes Park
Chamber Orchestra, Jean-Marie Zeitouni, conductor, with Julie Albers, cello
Mozart: Overture to The Marriage of Figaro
Haydn: Cello Concerto No. 2 in D major
Bach: Brandenburg Concerto No. 3
Mozart: Symphony No. 31 in D major (“Paris”)

Week 4

7:30 p.m. Tuesday, July 21: Music Mash-Up, Copland + Bon Iver Featuring SHEL
Steve Hackman, conductor
7:30 p.m. Thursday, July 23, and Friday, July 24: Beyond Fairy Tales
Festival Orchestra, Jean-Marie Zeitouni, conductor, with Krisztina Szabo, soprano, and Gabor Bretz, bass-baritone
Stravinsky: The Firebird Suite (1919 version)
Bartók: Bluebeard’s Castle (In Hungarian with English supertitles)
7:30 p.m. Sunday, July 26; Monday July 27 in Estes Park: Sounds of the Mediterranean
Chamber Orchestra, Jean-Marie Zeitouni, conductor, with Ana Vidovic, guitar
Benet Casablancas: Festive Overture (North American premiere)
Joaquin Rodrigo: Concierto d’Aranjuez
Vivaldi: Guitar Concerto in D major, RV.93
Mendelssohn: Symphony No. 4 (“Italian”)

Week 5

7:30 p.m. Tuesday, July 28, First Congregational Church: Chamber Music for Strings
Musicians of the CMF
Brahms: Sextet for Strings in G major
Schoenberg: Verklärte Nacht
7:30 p.m. Thursday, July 30, and Friday, July 31: John Fielder’s Colorado
Festival Orchestra, Jean-Marie Zeitouni, conductor
Sibelius: Symphony No. 5
Beethoven: Symphony No. 6 (“Pastoral”)
Performed with projected images by photographer John Fielder
7:30 p.m. Saturday, Aug. 1: A Little Nightmare Music
Igudesman & Joo
7:30 p.m. Sunday, Aug. 2; Monday, Aug. 3 in Estes Park: Nature’s Tableaux
Chamber Orchestra, Jean-Marie Zeitouni, conductor, with Calin Lupanu, violin
Jean-Philippe Rameau: Les Boreades
Charles Ives: Symphony No. 3
Vaughan Williams: The Lark Ascending
Haydn: Symphony No. 73 in D major (“The Hunt”)

Week 6

7:30 p.m. Tuesday, Aug. 4: Music Mash-Up, The Crazy Arc of Love with Storm Large
Steve Hackman, Storm Large & Le Bonheur
7:30 pm. Thursday, Aug. 6, and Friday, Aug. 7: Trading Places
Festival Orchestra, Jean-Marie Zeitouni, conductor, with Marc-André Hamelin, piano
Bernstein: Overture to Candide
Ravel: Piano Concerto for the Left Hand
George Antheil: Jazz Symphony (1955 version)
George Gershwin: An American in Paris
Darius Milhaud: A Frenchman in New York
7:30 p.m. Saturday, Aug. 8, First Congregational Church: Chamber Music for winds and piano
Musicians of the CMF
Samuel Barber: Summer Music
Walter Piston: Wind Quintet
Beethoven: Quintet for piano and winds
7:30 p.m. Sunday, Aug. 9: A Royal Finish
Chamber Orchestra, Jean-Marie Zeitouni, conductor, with Sarah Coburn, soprano, and the Colorado Festival Chorus
Mozart: Ave Verum Corpus
Mozart: Exsultate Jubilate
Mozart: Regina Coeli K.108
Handel: Zadok the Priest
Handel: Music for the Royal Fireworks
Handel: Excerpts from Ode for St. Cecilia’s Day

Edited Feb. 27 for minor corrections in the program, consistency between the program listing and the text of the article, and to insert the date of the announcement.

Edited March 1 to correct the title of Milhaud’s Frenchman in New York.