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

2006-07 Season

Sunday, October 1st, 2006
~ 3:00 p.m. ~
Memorial Auditorium

Concert program (>5M pdf)
Concert poster
Related Links

James Hall, Flute

October 1st, 2006
Program Notes

Summon the Heroes

John Williams (1932- )

Majestically - L'istesso tempo

Last SEKSO Performance: March 3rd, 2002
Written In: 1996

"I remember seeing a photograph of a female athlete suspended above the ground, every fiber of her being stretching for a ball just beyond her reach... captured in a shot, freezing time and denying gravity. There is unquestionably a spiritual, non-corporeal aspect to an athletic quest such as this that brings us close to what art is all about."

- John Williams

On the coattails of the Winter Olympic games in Salt Lake City, Utah, John Williams' Summon the Heroes is a great reminder of the struggle and the triumph that surrounds athletes as they prepare for and perform in the Olympics. John Williams captures the inspiration that allows each athlete to compete... win or lose. As with the themes for his soundtrack compositions (Superman, Star Wars, Close Encounters of the Third Kind), Williams employs a spectacular antiphonal brass choir to establish the theme that is molded throughout Summon the Heroes, the Official Theme of the 1996 Centennial Olympic Games.

Scored for: 2 flutes, piccolo, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, timpani, and strings. [2[1.2/pic]232-4331-tmp-str]

Flute Concerto No. 1 in G Major (Kv313)

Wolfgang Amadeus Mozart (1756-1791)

I. Allegro maestoso
II. Adagio ma non troppo
III. Rondo: Tempo di Menuetto

Last SEKSO Performance: May 2nd, 1992 (1st mvmt.)
Written In: 1778
First Performance: Unknown

In 1777, while living in Mannheim, Mozart's friend, flutist Johann Baptiste Wendling, introduced him to a rich Dutch surgeon and amateur flutist named De Jean. De Jean offered to pay Mozart two hundred gulden for "three short simple concertos and a couple of quartets for the flute." In spite of the fact that De Jean's request was for short and simple, the G Major concerto is not that. Mozart, after much delay and a proper ammount of complaining and excuse making in letters to his father, completed three of the four quartets, and two of the three concertos requested. He received only 96 gulden from De Jean, the rest was delivered in the form of chastizement from his father.

Among his other excuses, Mozart stated that he was "unable to write for and instrument he could not bear". It's difficult to take this argument seriously, since Mozart wrote a number of beautiful and memorable lines featuring the instrument, including the Magic Flute...

De Jean may not have found the introspective mood of the Adagio to his taste, and Mozart later sent a substitute movement, the Andante in C Major, K.315. Overall, the concerto utilizes the full range of the instrument and of the performer.

Scored for: 2 flutes, 2 oboes, 2 horns and strings [2200-2000-str]

James Hall

Flutist James Hall has embarked on an impressive and varied career which includes significant achievements as solo recitalist, chamber player, orchestral musician, concerto soloist, and teacher. Principal Flutist of the St. Joseph Symphony, he has also performed with the Sarasota Music Festival Orchestra, the Kansas City Chamber Orchestra, the Kansas City Civic Opera, and the Kansas City Chorale, and has collaborated with the Aurora Trio, Music from China, and Carol Wincenc. He has been featured soloist with the Kansas City Civic Orchestra, the Southeast Kansas Symphony Orchestra, and the Orchestra of the Conservatory of the University of Missouri-Kansas City, where he earned both Master's and doctoral degrees. He performs regularly in a flute and piano duo with pianist Patricia Higdon in venues throughout the United States. The duo gave their New York debut in November 2004 at Carnegie's Weill Recital Hall.

Dr. Hall is flutist, founder and Artistic Director of the Chamber Music Society of Kansas City, whose highly successful 2003-4 debut season brought together an outstanding group of musicians from a number of the area's leading professional ensembles and universities.

In addition to his active commitment to nurturing appreciation and excitement for chamber music repertoire in the Kansas City area, Dr. Hall is devoted to the continued development and exposure of new flute repertoire. Most recently, he performed the regional premieres of Daniel Kessner's Celebrations for Flute and Orchestra and Paul Schoenfield's Klezmer Rondos, and the US premier of Hubert Birds Flute Concerto, and has commissioned new works for flute by American composers William Lackey and Stephan Casurella.

In addition to an active schedule of private teaching and free-lance performing, Dr. Hall serves on the flute and chamber music faculties of Pittsburg State University and the University of Missouri-Kansas City Conservatory's Academy of Music and Dance.

UMKC Academy of music personnel bios

Variations on a Theme of Haydn, Op. 56a

Johannes Brahms (1833-1897)

Chorale St. Anthony ~ Andante
Var. I ~ Poco piu animato
Var. II ~ Piu vivace
Var. III ~ Con moto
Var. IV ~ Andante con moto
Var. V ~ Vivace
Var. VI ~ Vivace
Var. VII ~ Grazioso
Var. VIII ~ Presto non troppo
Finale ~ Andante

Written In: 1873
First Performed: Nov. 2nd, 1873, Vienna Philharmonic. Brahms, cond.
Also arranged as: Op. 56b for two pianos.
Alt. Title: Variationen über ein Thema von Joseph Haydn, B-dur

With the exception of two serenades, written when Brahms was in his mid-twenties, his Variations on a Theme of Haydn was the first piece in fifteen years written for orchestra that did not incorporate an instrumental soloist or chorus. Riding on the coat tails of Beethoven, Brahms was reluctant to step up and compete with the legend. With the success of the German Requiem, and Variations, the forty year old Brahms was currently in the process of writing, and would soon release his First Symphony.

Many times referred to as the "St. Anthony" variations, the theme was first introduced to Brahms by Carl Ferdinand Pohl, through a manuscript of the first of a set of six Divertimenti, or Feldparthien, by Haydn. It is now believed that they were actually the work of Haydn's pupil Ignace Pleyel. The second movement was bases on an old Burgenland chant entitled, "Chorale St. Anthony."

It is unsure if the piano version (Op. 56b) was written first, then scored for orchestra. It was Brahms' habit to have piano study arrangements of his major works on hand, to be played for friends in private gatherings, however he told his publisher Fritz Simrock that the work was a variation for orchestra, and the piano arrangement didn't have it's showing until the following year.

The piece is made up of the introductory main theme, eight variations, and finale. The introduction is a stately presentation of triads based on the tonic/subdominant, or "Amen" cadence, often found at the end of hymns. This makes way to eight variations, some rhythmic, some lyrical, or waltz like. The Finale is made up of 5 measure (not two or four measure) repeated sections taken from variation IV, ending with a brief restatement of the original theme.

The piece was initially met with great success, and Brahms proclaimed it to be one of his most satisfying compositions.

Scored for: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, timpani, triangle, and strings. [3[1.2.pic]223[]-4220-tmp+1-str]

Related Links

John Williams (1932-)

Wolfgang Amadeus Mozart (1756-1791)

Johannes Brahms (1833-1897)


Flute Links:

  • The Dayton C. Miller Flute Collection (Library of Congress) Nearly 1,650 flutes and other instruments, statuary, iconography, books, music, tutors, patents, and other materials mostly related to the flute. The Miller Collection contains Western and non-Western examples from all over the world, and at least 460 European and American instrument makers are represented.
  • National Flute Association

Other Links: