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The Southeast Kansas Symphony Orchestra
Raul Munguia - Artistic Director & Conductor

2004-05 Season

Saturday, February 5th, 2005
~ 6:30 p.m. ~
Memorial Auditorium

Concert program (PDF)
Concert poster
Related Links

'Overheard In the Lobby'

... and I especially liked the Dvořák...

Concert Graphic

Music of Antonín Dvořák
February 5th, 2005
Program Notes

With special Guest Conductor,
William Intriligator.

Slavonic Dances No. 10 in E minor, Op. 72, no. 2 (B145/2)

Antonín Leopold Dvořák (1841-1904)

Allegretto grazioso

Written In: 1875
Originally Written: For piano (4 hands)

Dvořák originally wrote his Slavonic Dances as duo-piano pieces, in two sets separated by eight years. Opus 46 was completed in 1878 and was immediately popular throughout Europe, and Simrock, Dvořák's publisher, cominually requested more lighthearted compositions of the type. Simrock had published Brahms' Hungarian Dances in 1860, and hoped that Dvořák could continue in like manner in a piano style that was popular in European homes at the time. The second set of Dances was finally completed in 1886, and Simrock had, perhaps grudgingly, what they had asked for. Opus 72 was not quite as lighthearted as the first set, but sold for much more, bringing the composer almost ten times as much as the first.

Bringing international attention to Dvořák, Simrock then asked him to orchestrate them, which he did, along with several of the Hungarian Dances. Bohemia was at the time under Austrian rule, along with much of Central Eruope. These dances were Dvořák's opportunity to express and forward the culture of Bohemia, Serbia, Poland and the Ukraine. In Opus 46 and 72, you'll find dance styles such as the Polka, Furiant, Dumka and Sousedska.

Scored for: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, percussion, timpani, and strings. [2222-4230-tmp+3-str]

William Intriligator, guest conductor

William Intriligator, guest conductor

William Intriligator is currently in his fifth season as Music Director and Conductor of the Dubuque Symphony Orchestra. Under his leadership, the orchestra has experienced tremendous growth and success - raising musical standards and accomplishment overall, breaking attendance records, attracting new audiences and musicians, adding ballet and opera productions to the season, launching a chamber series, and doubling the number of education concerts.

Intriligator serves as an important ambassador for the arts in Dubuque, forging strong ties to community groups and organizations, raising the overall awareness of the symphony, and building a very strong rapport with audiences. He hosts a weekly radio program about the Dubuque Symphony Orchestra and writes a monthly newspaper column. He was recently selected as a member of the Dubuque Arts and Culture Commission.

As a guest conductor, Intriligator has led performances with many fine ensembles across the country, including the Houston Symphony, Minnesota Orchestra, Richmond Symphony, Savannah Symphony, Honolulu Symphony, Tulsa Philharmonic, and the Duluth Superior Symphony. He was also a regular guest conductor of the Saint Paul Chamber Orchestra for many seasons, leading the ensemble in concerts at home and on regional tours, and conducting their education concerts for three seasons.

Prior to his appointment in Dubuque, Intriligator served as Apprentice Conductor and Staff Conductor of the Minnesota Orchestra, as well as Assistant Conductor of the Minnesota Opera. He also served as Resident Conductor of the Astoria Music Festival, a summer festival in Oregon, and as Music Director of the Metropolitan Symphony Orchestra, the St. Paul JCC Symphony, and the Kenwood Chamber Orchestra, all in Minnesota.

Born and raised in Southern California, Intriligator studied oboe with Raymond Pancost and David Weiss, Principal Oboe of the Los Angeles Philharmonic. He studied piano with Glenn Jacobson, Duncan McNab, and Bill Duna and violin with Junko Ota-Pecht.

Intriligator attended Princeton University, where he graduated summa cum laude in music. In addition, he was the first recipient of a Princeton diploma in conducting and was awarded the Isidore Sacks prize for most outstanding musician. Intriligator completed his doctoral and masters degrees in conducting at the University of Minnesota with Murry Sidlin, Keith Clark, and Mark Russell Smith as part of the Graduate-Apprentice Conducting Program.

His primary conducting teacher was the Rumanian-French conductor Charles Bruck, with whom he studied in Paris and for four summers at the Pierre Monteux School in Maine. He also studied conducting in Europe with Christian Thielemann and Michael Gielen, to whom he served for a year as Apprentice Conductor of the Southwest German Radio Orchestra.

Intriligator was invited twice as a Conducting Fellow at the Aspen Music Festival, where he studied with David Zinman and Murry Sidlin. He has also had master-c1asses with conductors Lawrence Foster, Janna Panula, Robert Spano, Daniel Lewis, Gustav Meier, Eiji Oue, and Leonard Slatkin.

Intriligator enjoys working with young musicians. He conducted a Northeast Iowa Regional Honor Orchestra last month. He guest conducted the Omaha Area Youth Orchestra in 2003, and he was invited by the Philadelphia Orchestra to lead the Philadelphia Region High School Honor Orchestra in 2002. While living in Minnesota, he was Conductor of the Youth Chamber Orchestra at the MacPhail Center for the Arts and Conductor of the Orchestra at the College of St. Benedict and St. John's University.

Intriligator lives in Dubuque with his wife, Heather, and his newborn son, Gabriel.

Serenade for Strings in E Major, Op. 22

Antonín Leopold Dvořák (1841-1904)

IV. Larghetto
V. Finale

Written In: 1875 in under 2 weeks
First Performed: 1876, Prague Philharmonic, Adolf Cech cond.

In the summer of 1875, the Dvořáks were expecting their first child. His job as a church organist in one of the Prague churches did not pay enough to support a family, so Dvořák applied for help, in the form of a government grant. With several compositions in hand, including two symphonies, and papers documenting his financial status, the Minister of Culture awarded him the largest grant available. The Minister's decision was based on the recommendation of members of a jury that included the likes of Johannes Brahms, who played a significant role in Dvořák's life.

Dvořák completed the Serenade for Strings in about 12 days. Written for 5 part strings, the piece has been performed by both large and small groups, presenting quite a musical challenge, due to the complexity and maturity of the writing.

A romance is typically a light romantic endeavor, but the Dvořák serenade shows all of the weight of the abilities of the composer, and he rides the fine line between stylistic expectations of a piece of this nature, his own emotions of being a new family man, and the growing maturity of his own compositional style. A mixture of excitement, expectancy, romance, and responsibility are all to be found.

Movement IV, Larghetto, is a slow movement, full of emotion. In some ways, this movement explains why composers such as Dvořák and Tchaikovsky were used so often in earty stage and screen to express strong emotions or romantic tension.

The fifth movement, Finale, shows all the exuberance of a European street festival, the opening measures filled with excitement and a touch of "tag, you're it!" The movement is in a loose sonata form, using original themes, and bits from other movements. It ends with a portion of themes from the first movement to round it off.

Scored for: strings.

Symphony No.8 in G Major, Op. 88 ("The English")

Antonín Leopold Dvořák (1841-1904)

I. Allegro con brio
II. Adagio
III. Allegretto grazioso - Molto vivace
IV. Allegro, ma non troppo

Last SEKSO Performance: April 8th, 2001
Completed/Written In: 1889
First Performed: Prague, February 2, 1890, Dvořák cond.

Dvořák's finest music is as spontaneous and unpretentious as the composer himself. His origins were simple. His father was the butcher of his tiny town ten miles north of Prague. Dvořák kept a lifelong preference for simple people, country surroundings, for the language, customs and folklore of his native landscape. The work was written amid a floodtide of inspiration and finished in less than a month in 1889. The score was first published as Symphony No.4, but has been renumbered to No.8.

I. Allegro con brio. The first movement opens with a pensive melody, which is brought back at crucial points as a sort of framework to the structure. The actual principal theme is an airy figure for solo flute. Some have suggested this might be reminiscent of bird-song. The movement continues with a profusion of catchy melodies, many of them with dance-like rhythms.

II. Adagio. The slow movement is built around several imaginative variants of its short opening phrase. One of the most appealing of these comes with a Schubert-like shift from C minor to the sunnier C major.

III. Allegretto grazioso. The waltz-like theme recalls some of Tchaikovsky's more graceful inspirations, yet at the same time it has a sturdy peasant lilt.

IV. Allegro ma non troppo. A festive trumpet call opens tile last movement, like a summons to some celebration. The theme of this finale is one more demonstration of the infinite variety and charm of vořák's dance melodies.

Scored for: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. [2[1.2/pic] 2[1.2/Eh] 22-4231-tmp-str]

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Antonín Leopold Dvořák (1841-1904)


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