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

2008-09 Season

Sunday, Sept. 28th, 2008
~ 3:00 p.m. ~
Memorial Auditorium

Concert program (PDF)
Concert poster
Related Links

"...It was the best performance I've ever heard from the Orchestra..."

Concert attendee on the Khachaturian

Concert Graphic

September 28th, 2008
Program Notes

Le Coq d'Or (The Golden Cockerel), Concert Suite for Orchestra

Nikolay Rimsky-Korsakov (1844-1908)

I. King Dodon at His Palace
from "Four Musical Pictures from the opera The Golden Cockerel"

Written In: 1907
First Performed: Moscow, October 7, 1909
Russian Title: Zolotoy Petushok

As with Mother Goose and Bugs Bunny, the Pushkin story of the Golden Cockerel is basic political satire in the form of the fantastic or dramatic. The Golden Cockerel, Rimsky-Korsakov's final opera, is based on Pushkin's story and equally "informative" in its unspoken way.

The story is timeless, and could be the story of any one, from any time, but because of the similarities between King Dodon and Czar Nicolas II, just suffering a defeat against the Japanese, the censors of Imperial Russia did not allow a performance. The composer would not allow alterations to his composition, so it was literally released "over his dead body", in 1909. It was not performed in its original version until after the Russian Revolution in 1917.

King Dodon, gluttonous and tired by the affairs of state, is looking for some help. He is oppressed on all sides by his warlike neighbors and calls for an assembly. Turning down the advice of his sons, and advisors all around, the entire group is in turmoil. Finally an astrologer with a particular well placed spin sells the weary king on the idea of a magic weather vane, the Golden Cockerel, which will point out the direction of any attacking army. Ready for some peace, the king agrees, and offers the magician anything he desires at some future time.

Things don't go as expected, and both of his sons are soon killed in battle. The king is angered, decides to double-cross the magician and, well, we all know how stories like that end.

This opera, the last by Rimsky-Korsakov, departs from his typical lush style of the past. Usually the go-to guy for literally every composer of the time, this master of orchestration utilized some of the newer trends of the day; complicated harmonies, whole-tone scales, diminished seventh chords, augmented triads, and the like. It's source is still recognizable, and enjoyable as any of his other works.

Scored for: 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, timpani, 2 harps, celeste, and strings. [3[1.2/pic2.pic1] 3[1.2Eh] 3[1.2bcl] 3[1.2cbn] - 4 3[1.2atp] 3 1 - tmp+4 - 2hp - cel - str]

Concerto in D minor for flute and orchestra (1968) [Opus 46B: Arrangement of Violin ]

Khachaturian, Aram Il'ich (1903-1978)

I. Allegro con fermezza
II. Andante Sostenuto
III. Allegro vivace

Written In: 1940 (Violin Concerto)
Transcription by: Jean-Pierre Rampal (1968)

Aram Khachaturian was born and raised in Tbilisi, Georgia. Surrounded by native Georgian - Armenian - Azerbaijani folk tunes, Aram had quite an opportunity to steep in the melodic styles and rhythms that predominated. Although he rarely worked with the melodies themselves, he did rely heavily on the influences, and his style was widely accepted by his audience.

The Concerto in D minor was originally premiered in November 1940 as a violin concerto for soloist David Oistrakh, a favored soloist of the day. Shostakovich and Prokofiev also wrote concerti with him in mind. In 1960, another famous soloist approached Khachaturian, asking him to write a piece for him. His name was Jean-Pierre Rampal. He must not have caught the composer at the right time, though; Aram offered to let Jean-Pierre re-work the violin solo for the new instrument. He did, allowing for such things as the slight differences in range and eliminating double stops, and in 1968 the Flute Concerto was ready. As with today's performance, the piece is often performed using the score and orchestral parts from the original violin arrangement.

The first movement, Allegro con fermezza, is in sonata-allegro form, opening with a two part introduction that tries to avoid the D minor influence, that's reserved for the opening section of the solo. The second theme is an expressive effort between the soloist and celli. The cadenza departs from Khachaturian's violin version, but because of Rampal's artistry, it's almost impossible to tell where one version stops and the other begins.

The second movement, Andante sostenuto, is in a rondo form. As with the first movement, its opening by the bassoon and clarinet is not centered on the destination key. The extremes, the bass instruments and the flute solo bring the movement in. This movement is very heavily burdened and emotional. It's dark, but also quite romantic. The solo (here, but also throughout the entire work) manages to pull through the drama and lifts the orchestra up to a more optimistic level, but not without effort.

The last movement, Allegro vivace, charges off, boisterous and impatient, with just a hint of Sabre Dance. The folk/dance influences are spread heavily throughout the movement. The coda brings the piece to a finish, using themes from the first movement

Scored for: 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, timpani, harp, and strings. [3[1.2pic]3[1.2Eh]22-4331-tmp+3-hp -str]

Andrea Dinkel, flute

Andrea Dinkel, flute

Musicianship has been a true adventure for Andrea Dinkel, who began playing the flute at age 11 in her 5th grade band in Olathe, KS. It took nearly two weeks for her to produce a single note on her instrument, but she since then she has been successful in her schools' instrumental programs. She began playing a hymn every Sunday morning at a local retirement center in 6th grade, and playing at district solo competitions in 8th grade.

During high school she studied with Emily Smith and Cecelia Trabert, who encouraged her to set her standards high and to expect personal achievement. She was flute section leader and drum major for the Olathe North Marching Eagles , participated in district band, and played in community bands during the summers. Andrea has studied flute with Dr. James Hall while attending Pittsburg State University where she has played with the Pride of the Plains Marching Band (the best band in the land), the Wind Ensemble, Southeast Kansas Symphony, and also the Chamber Winds.

Andrea is currently student teaching music to kindergartners through seniors in high school in the Grandview, Missouri school district. She plans on graduating in December with a Bachelor of Music Education and minor in general science.

Symphony No. 1 in D Major, Op. 25 "Classical"

Sergey Prokofiev (1891-1953)

I. Allegro
II. Larghetto
III. Gavotte: Non troppo allegro
IV. Finale: Molto vivace

Last SEKSO Performance: Nov. 17, 2002
Completed/Written In: 1917
First Performed: Ap. 21, 1918, Petrograd. Former Court Orchestra, Sergei Prokofiev, cond.
Dedicated to: Boris Asafiev

Musicians speculate to this very day. What would Haydn, Beethoven, Bach, or Mozart written if they had been alive today and their abilities influenced by modern trends? That was one question Prokofiev tried to answer with his "Classical" Symphony, one of the earliest examples of neo-classicism that inspired a number of early 20th century composers.

Scored for an orchestra of that period - woodwinds and brass in pairs, strings and light percussion, this symphony is structurally anything that could have arisen from that earlier time. Written in the familiar four-movement form, with two fast outer movements framing a slow movement and a dance-like movement, it's the harmonies that show the 20th century inspiration. The symphony is sometimes rather dissonant (or perhaps 'overly harmonic'), yet it retains a tightly knit framework of progressions to hold the sudden shifts in harmony.

Prokofiev wanted the piece to be fun, energetic and witty. He was also trying to learn to compose away from the piano, believing that the orchestra would sound more natural that way. He spent the summer of 1917 in Petrograd, deliberately without his piano after realizing the music he had composed away from it sounded better to him than that written with it at his disposal.

The first movement (Allegro; D Major) is a short version of the first-movement form that had served so well for so many composers.

The second (Larghetto; A Major) begins with the theme in the first violins and flute, with a gentle string accompaniment. A contrasting middle section is given to pizzicato strings.

The third movement (Gavotte; D major) is perhaps the subtlest in its humor. It is not too difficult to envision attendees of a Paris court dancing the 'boot scoot' of the time in full regalia, complete with powdered wigs and upturned noses. This theme was also used quite effectively in Prokofiev's ballet "Romeo and Juliet".

The fourth movement (Finale: Molto vivace; D major) starts out with a bold chord, the gunshot that starts a footrace through a sonata-allegro format and breaking the tape in the final measure.

It's hard to believe that such a creative, humorous and witty piece was written during a time when Russia was heading straight on towards revolution, however, Haydn's Symphony No. 88 was premiered in Paris in 1789, on the eve of the French Revolution.

Scored for: 2 flutes, piccolo, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, timpani, and strings. [2222-4222-tmp-str]

Related Links

Khachaturian, Aram Il'ich (1903-1978)

Sergey Prokofiev (1891-1953)

Nikolay Rimsky-Korsakov (1844-1908)

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:

  • "Sweet Sounds" by Nikki Pattrick (Pittsburg Morning Sun, web posted Saturday, September 27, 2008)