Go to Pikes Peak Center this afternoon. It’s the Colorado Springs Philharmonic’s last concert of this season and whether you’re a classical music fan, a lover of jazz, into heavy metal or, heck, live for country music it’s just not to be missed.

With all its gusto and glory, the opening work of the concert might not be enough to convince you this is the right move. Maestro Josep Caballé-Domenech was at his dramatic best as he inspired his orchestra to ring out the sounds of Bach via the highly-romantic vision of Leopold Stokowski. This transcription of the great “Toccata and Fugue in D minor” for organ has been heard by millions via the 1940 Disney classic Fantasia, but on this occasion it seemed to be created just for this moment.

Kudos to the philharmonic strings for assuring the sensuality of the experience but, overall, this was a great showpiece for the entire orchestra.

Then everybody on stage left. Bach would now be heard as he originally intended for the “E major Violin Concerto.” This only required 16 strings and one harpsichord and by focusing the light on this small ensemble and darkening the rest of the hall, it hardly seemed as if we were in a 2000 seat space. An even greater shift was necessitated by the intimate sound they produced.

Concertmaster Michael Hanson lead the group as the soloist in the Baroque tradition as violinists and violists stood throughout. Free from their chairs, it was a fascinating visual experience to see how different each musician’s body responded to the music. With precious details provided by his accompaniment, Hanson hurled himself at the notoriously difficult opening Allegro. He was obviously working hard and this kept the music from elevating to the sublime.

All this changed in the Adagio. His tone and phrasing seemed to pour out in almost unconscious stream. Everyone on stage joined him for what felt like a sacred reading. The short final Allegro danced itself to joyous conclusion.

I warned audience members during intermission that an attack was imminent. Over a century after it shocked a Parisian audience in its debut as a ballet, Stravinsky’s “The Rite of Spring” remains the seminal experience in modern music. When done right, it has the capacity to transfix and stun throughout the 35 minutes it needs to state its case.

Caballé-Domenech was on a mission here. Stravinsky came first. The purveyors of his vision, the now huge orchestra that filled every square inch of the concert stage, were next. He knew his job and did it brilliantly: to assure that every nook and cranny of this every shifting score was made clear and concise. The musicians did the rest.

As if she had been waiting all her life for this moment, principal bassoonist Joyce Fleck rendered the anguished cry of the earth to start things in motion. What followed was a performance all should be proud of.

As Charles Ortega alluded to in a brief speech before the concert, everyone in the orchestra had a huge responsibility. Ortega, the orchestra’s Tuba player is still recovering from a terrible automobile accident. From a wheelchair he warmed the hearts of all present and promised to be back where he belongs next season. He does need help and by visiting the site charliesfund.com you can make a difference.

And this is how it was. Acting like a great team, this orchestra fought for the music. The entire wind section set the desolate tone. Strings, whether massed, divided or solo captured textures and emotions with conviction. The huge forces that comprised the brass section were ready and able to lead the assault when called to action. But the Percussion section was the most subversive of all.

Using virtually every soundscape known to the art form, they were like commandos setting the stage for an all out attack. Added all together, the Colorado Springs Philharmonic and Maestro Caballé-Domenech put the crown on what in my opinion is the finest season of orchestral music in these parts over the past 25 years. There may be many aspects of our city that could be construed as “minor league” but this organization plays in the “majors.”

A great accomplishment by the philharmonic but also a milestone in my life. My 20 year relationship with our professional symphony orchestra has come to an end as my wife and I move to Florida in July. During this time I’ve covered two conductor searches in print and on the radio; brought adults and elementary school students to rehearsals; produced previews and reviews for Springs Magazine, The Independent, The Gazette and the ArtsPeak radio broadcasts and, when drafted, served as marketing director for the newly minted philharmonic after the demise of the Colorado Springs Symphony in 2003.

My heartfelt thanks go out to all of these great musicians and the hard working administrations that have helped to elevate the art of classical music to rarefied air here in the Pikes Peak region. Even greater thanks go out to all of you for the interest and kindness I’ve received over these past two decades. All in all, covering and engaging in the arts and specifically living inside the region’s classical music has been by far the most rewarding experience of my life.

Igor Stravinsky