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

2009-10 Season

Sunday, February 21st, 2010
~ 3:00 p.m. ~
McCray Recital Hall

Concert program (PDF)
Concert poster
Related Links

Concert Graphic

"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]

Ramiro Miranda, violin

Ramiro Miranda, violin

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]

Related Links

Wolfgang Amadeus Mozart (1756-1791)

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