"Mozart Mania!"
February 21st, 2010
Program Notes
Overture to Così fan tutte, K. 588
Wolfgang Amadeus Mozart (1756-1791)
Dr. Carolann Martin, cond.
Andante - Presto
Last SEKSO Performance: April 6th, 2003
Completed In: 1789
First Performed: the Burgtheater in Vienna - January, 1790
"Così fan tutte", rendered literally as "Thus [or "So] do all the women" and
sometimes just rendered "Women are like that" was Mozart's last comic opera. The
premise of the work however is one that can only ultimately end in tragedy - the
age-old story of two men each wagering on the fidelity of their fiancé. It is a lighthearted
look at human nature, though and if you throw in a bit of mistaken identity, defiant
bravado and general confusion you have the overture of one of the world's most famous operas.
Maneuvering and intrigue was as common in the wings as it was on stage.
Mozart was not overly fond of prima donna Adriana Ferrarese, the mistress of
the librettist, and wrote an extremely difficult aria for her "Come scoglio".
He hoped to make her look foolish before the audience. Everything 'wrong' was
done, such as wild interval leaps and a range of over two octaves. Mozart's subtle
humor is further expressed in the fact that the title, translated into "Like a Rock",
speaks of the characters steadfast fidelity, but given to someone's mistress to perform.
In spite of the difficulty, or perhaps because of it, the aria has become quite famous.
Scored for: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons,
2 horns, 2 trumpets, timpani, and strings. [2222-2200-tmp-str]
Violin Concerto No. 3 in G major, K. 216 "Straasburg"
Wolfgang Amadeus Mozart (1756-1791)
Dr. Selim Giray, cond.
I. Allegro
II. Adagio
III. Rondeau
Written In:Salzburg, 1775
Mozart composed this concerto in the
year 1775, when he was concertmaster of Count Colloredo's court orchestra in Salzburg.
That's right; he played the violin. Once his father, Leopold Mozart, wrote to him:
"You have no idea how well you play the violin. If only you would do yourself justice
and play with boldness, spirit and fire, as if you were the greatest violinist in
Europe!" His father was also a high authority in music, well known for his treatise
on violin playing (Versuch einer gründlichen Violinschule), and he taught young
Amadeus how to play the violin with grace and elegance. But it is clear that he
didn't particularly enjoy playing the violin. As a matter of fact, two years after
writing his violin concertos, he stopped playing the violin in public.
Recent findings reveal the possibility that Mozart had written the first two
violin concertos in 1773. This gap in between the first two and the rest of the
concertos explains how much more he had developed his unique style. Alfred Einstein
explains the astonishing difference between the second and third concertos:
"Suddenly there is a new depth and richness to Mozart's whole language... The whole
orchestra begins to speak, and to enter into a new, intimate relation with the solo
part." This is true in the three movements of the concerto, the first of which Mozart
displays his mastery in communicating the soloist with the orchestra in the most
delicate way. The Adagio, with the introduction of the flutes instead of the oboes,
clearly makes a difference in portraying a tender and intimate movement. And last,
the Rondo, a cheerful melody that returns after different interventions by the
soloist and orchestra, with a quite elegant and simple ending.
Scored for: 2 flutes, 2 oboes, 2 horns and strings. [2200-2000-str]
A native of Asuncion, Paraguay, Ramiro
Miranda came to the United States in 2007. After finishing school in Paraguay,
he was awarded a full scholarship toward his undergraduate studies at Pittsburg
State University. He is an active chamber and orchestra musician, recitalist, and soloist.
In 2007, he co-founded the Contemporary Ensemble of Asuncion, a group devoted
to performing new music, as well as motivating its members and musician friends
to compose, in which he premiered some of his works. He also played in orchestra
festivals in Paraguay, Brazil, and in the United States. Currently, Ramiro is studying
with Dr. Selim Giray at Pittsburg State University, where he recently won the Waddil
Chamber Music Competition and the Concerto and Aria Competition and will be performing
as a soloist with the Southeast Kansas Symphony Orchestra in the 2009-2010 season.
Symphony No. 40 in G minor, KV. 550 ("The Great")
Wolfgang Amadeus Mozart (1756-1791)
Stella Hastings, cond.
I. Molto allegro
II. Andante
III. Menuetto
IV. Allegro assai
Last SEKSO Performance: Oct. 7, 2001
Completed In: July, 1788
In an apparent attempt to regain some
momentum in a musical career that was beginning to wane in popularity with the public,
as well as to avert his considerable financial difficulties, Mozart composed his
last three symphonies within a two month period in the summer of 1788. The middle
of these works, his Symphony No. 40 in G-minor, has become one of the most adored
of all of Mozart's forty-one symphonies; its opening movement presents one of the
most popular themes of all from this prolific composer.
Some of this appeal might be attributed to it's key. Mozart, who preferred to
compose in cheerful major keys, only composed two minor-key symphonies, both of
which happen to be written in g-minor. Mozart used this key to express deep anguish
and tragedy. It has often been theorized that Mozart chose the key as a means of
incorporating an autobiographical element of his own personal anguish into the symphony.
Scored for: flute, 2 oboes, 2 clarinets, 2 bassoons,
2 horns, and strings. [1222-2000-str]
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