skip to page title

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

2005-06 Season

Sunday, October 9, 2005
~ 3:00 p.m. ~
Memorial Auditorium

Concert program (PDF)
Concert poster
Related Links

Concert Graphic

An Enchanted "Evening" - From the Sublime to the Fantastic
October 9th, 2005
Program Notes

Brook Green Suite, H.190

Gustav Holst (1874-1934)

I. Prelude
II. Air
III. Dance

Written In: 1933
First Performed: Brook Green, London - St. Paul Girl's School

Brook Green Suite for strings was written in 1933 for Holst's students in the junior orchestra of the St Paul's Girls' School in Brook Green, London and given it's first informal performance in March of 1934 by the school orchestra. It was the last concert Holst attended before his death in May of that year. He desired to write a piece that was easy enough for his students to perform, but at a bit higher level of writing than that available to them from other sources at the time. The name may come from the Brook, running closely to the school, or perhaps because that's where he was married to his wife, Isobel, in 1901.

The first movement, (Prelude) is based on the descending C major scale, and presents quite a challenge in the repeated playing of such a musical basic. The "Air" sounds very much as if it was based on one of the many popular English folk songs of the time, but most likely it was not; Holst had become so entrenched in English folk song during his time that many of his melodies were very similar to them. The "Dance" is based on a melody heard by Holst while he was traveling in Sicily. The original score contained a "Gavotte," but this movement was taken out after the first performance.

Scored for: strings. [1[opt] 1[opt] 1[opt] 0-str]

Élégie ("Elegy"), Op. 24

Gabriel Urbain Fauré (1845-1924)

Molto Adagio

Last SEKSO Performance: March 4th, 1990
Written In: 1880
Originally Written For: Cello and Piano

T he Élégie, Op. 24 by Gabriel Fauré is a deeply moving and haunting poem, and might have been written as a lament for lost love. In 1872, Fauré, a serious young musician of twenty-seven, was introduced to a musical family, the Viardots, and fell in love with the daughter, Marianne. For five years he paid court to her, and at the end of that time she accepted him, only to break off the engagement a few months later. It was not until another six years had passed that Fauré had sufficiently recovered from the blow to console himself in marriage with Marie Fremiet - a worthy woman for whom he probably felt respect and affection rather than passion; and in the very year of his marriage he wrote this sorrowful Élégie. On the other hand the piece might be a memorial for a friend since it bears a dedication to Jules Loeb, one of France's leading cellists of the time.

Scored for: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns and strings. [2222-4000-str]


Wilfredo Cariaso Pasamba, cello

Wilfredo Pasamba, cello

Wilfredo Pasamba is a recipient of one of the most illustrious international competitions. He was the top prize winner of the 1996 Jennings Butterfield Young Artists Competition, 1995 Reno Chamber Orchestra Competition, 1994 Juilliard Cello Concerto Competition and a semifinalist in the 11th International Tchaikovsky Competition in Moscow. In the United States, Pasamba has been hailed by the New York Times for his audacity and brilliance. Since then, he has done solo recitals at Merkin Concert Hall, Metropolitan Museum of Art and Cornell University, including a concert debut at the Weill Recital Hall in Carnegie Hall. He received full scholarships to attend the Tanglewood Music Center, Norfolk Chamber Music Festival, Bowdoin Summer Music Festival, Ithaca Violoncello Institute and most recently a conducting fellowship grantee to the Conductors Institute of South Carolina. Wilfredo has performed in cello masterclasses of Colin Carr, Bonnie Hampton, Aldo Parisot, Bion Tsang, Lawrence Lesser, Michael Grebanier, Carter Brey as well as orchestral conducting with Donald Portnoy.

In past seasons, Mr. Pasamba has appeared with the Reno Chamber Orchestra, Juilliard Symphony Orchestra, Syracuse Camerata, Philippine Philharmonic Orchestra, and Manila Symphony Orchestra. He has worked with conductors such as Basilio Manalo, Michael Palmer, Pierro Gamba, Ruggero Barbierri, Vahe Kochayan among others. As an active chamber musician, he has collaborated with artist members of the Beaux Arts Trio, Argenta Trio, Orion and Ying String Quartets. He was the cellist and founder of the Battig Piano Trio, which has embarked on its first European concert tour in 2001.

Wilfredo Pasamba received his degrees from the Moscow State Conservatory, Ithaca College and the highly esteemed Juilliard School, trained by master cellists Natalia Shakhovskaya, Carter Enyeart, Einar Holm and Fred Sherry. He was an Assistant Professor of Music and Chairman of the String Department of St. Scholastica's College School of Music, Senior Lecturer and Conductor of UP Chamber Orchestra at the University of the Philippines College of Music and Associate Conductor of the Manila Symphony Orchestra. Presently he is taking post graduate studies in Cello Performance at the University of Missouri Kansas City Conservatory of Music and a faculty member of the Pittsburg State University School of Music.

Mr. Pasamba performs on a cello made in 2001 by Bronek Cison from the William Harris Lee Workshop in Chicago.

Rakastava, Op. 14 (The Lover)

Jean Sibelius (1865-1957)

The Lover
The Path of the Beloved
Good Evening...Farewell

Arranged In: 1911 for string orchestra
Originally for: Unaccompanied male chorus (1894)

The first version of "Rakastava" Op.14, "The Lover", dates from 1893. Sibelius submitted this work as his entry to the competition held by the choir of the University of Helsinki for a work for men's choir, and won the second prize. He had just finished the tone poem "Kullervo" based on the Nordic epic "Kalevala". Sibelius turned anew to the Nordic mythology in "Rakastava", which contains three chants from the Finnish national epic "Kanteletar". Towards the end of the 19th century, Sibelius occupied himself intensely with the Nordic poems; they took on a primordial importance for his work and left their lasting mark on his compositions. He saw in the national traditions of the North the substance and source of inspiration for his work, and succeeded in transposing them into music with contemporary means.

For performance-practical reasons, Sibelius arranged the work for men's choir and string orchestra in 1894 and for mixed choir a cappella in 1898. Finally in 1911, he revised the composition and set it definitely for string orchestra, triangle and kettledrums. Whereas the first three versions were performed solely within the Finnish borders, the fourth version attained international significance.

The final version was brought to paper 17 years after the first transcription of the seminal idea, thus after a long maturative process. Contrary to the other versions with their various scorings, this arrangement is the only one to omit the text: the choir is no longer necessary; the work is scored only for instruments. The immediate and direct relation of the music to a certain extra-musical subject is replaced by a programme, which is expressed solely in the title and in the headings of the movements. Although this renders a concrete interpretation somewhat more difficult, it provides greater compositional freedom and allows the emotional and expressive possibilities to unfold with a greater suggestive power, suited ideally to the evocative theme "The Lover".

The original composition of "Rakastava" being considerably earlier than this last version, one is only indirectly aware of Sibelius's acquaintance with impressionistic music, which he made during the first two decades of the 20th century and which he integrated into his compositional style, thereby enriching it.

However, the omission of the text represents an essential alteration, which must be seen in relation to the development of Sibelius's style. The thematic substance of the Nordic mythology is spiritualized and no longer contained directly in the work. It is treated in a more subtle manner and interwoven sensitively into the compositional texture.

The first movement, "The Lover", which in a way suggests the mood of the work and discloses its emotional content, is based on a central theme and its free development. The second movement, "The Path of the Beloved", contrasts to the previous movement by its faster tempo and by a regular motion throughout, out of which emerge various thematic and melodic elements. Finally, the three-part form of the third movement, "Good Evening...Farewell", represents a synthesis of the slow, expressive character and the fast, agitated aspect. The work is closed by a Lento, in which motivic figures from the previous melodic material suddenly blaze forth.

-- Publisher's notes.

Scored for: strings.

Sorcerer's Apprentice (L'Apprenti sorcier)

Paul Abraham Dukas (1865-1935)

Assez Lent - Vif

Last SEKSO Performance: February 18th, 1996
Written In: 1897
First Performed: 1897, Paris, Orchestra of the Société Nationale de Musique, Dukas cond.
Based On: "Der Zauberlehring", by Goethe

The story of the sorcerer's apprentice was told in ancient Egypt nineteen centuries ago. Retold in Greek by the Syrian satirist Lucianos of Samosata and told yet again as a German ballad by Goethe, which inspired Dukas' piece. Today's audiences are likely to be familiar with the tale because of Walt Disney's Fantasia which features Mickey Mouse as the mischievous apprentice. The tale relates the story of a sorcerer's apprentice who, in his master's absence, invokes the magic formula which starts the broom fetching water; however, he cannot remember the mystical words which will stop the broom. In a panic he splits the broom with an axe and now, to his horror, there are two brooms, both bringing water, then more. Soon the house is aflood. At this point the Sorcerer arrives, rescues the frightened apprentice, stops the brooms and restores order.

In the manuscript score, Dukas identifies three principal themes. The first, the mysterious opening bars of the introduction with the hocus-pocus of the violins and the rising phrase of the woodwinds are the magic spell. This latter tune played by the solo clarinet, oboe and flute later becomes the main theme representing the brooms carrying the water. A sudden flurry of scampering woodwinds represents the apprentice. The third theme, a fanfare of muted trumpets and horns, Dukas calls the Evocation. "This summons, when it reappears magnified in the postlude, expresses the idea of mastery, bringing back the calm tempo of the introduction."

Scored for: 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, glockenspiel, bass drum, cymbals, triangle, harp and strings. [3[1.2.pic] 2 3[1.2.bcl] 4[1.2.3.cbn (or sarr)]-4430-tmp+4-hp-str]

Related Links

Paul Abraham Dukas (1865-1935)

Gabriel Urbain Fauré (1845-1924)

Gustavus (Gustav) Theodore von Holst (1874-1934)

Jean Sibelius (1865-1957)

Cello Links: