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

2010-11 Season

Sunday, September 26th, 2010
~ 3:00 p.m. ~
Memorial Auditorium

Concert program (PDF)
Concert poster (PDF)
Related Links

Concert Graphic

"French Fare"
September 26th, 2010
Program Notes

Overture to Si j'étais roi [If I were King]

Adolphe-Charles Adam (1803-1856)

Allegro non troppo

Written In: 1852
First Performed: Paris, Sept. 4, 1852

A Adolphe Adam was born in Paris in 1803, son of the composer, teacher, and pianist, Louis Adam. Although encouraged by his father to take up some other profession than that of a musician, Adolphe decided early on that music was his calling, and entered the Paris Conservatoire in 1821. He went on to become a well known composer in French opera and ballet, and influenced later French composers such as Massenet, Gounod and Delibes.

Composing 39 operas and several ballets, Adam was perhaps most for the ballet Giselle, and for the song "Cantique de Noël", or "O Holy Night", written in 1847, and thought to be one of the very first musical pieces broadcast on radio.

Si j'étais roi (If I were a King) is set in Goa (southwest India), in 1510. A young princess is saved from drowning by a fisherman, and of course they fall in love. The opera deals with the difficulties encountered in seeing each other again. The opera opened with two casts performing on alternating evenings, and was considered an extravagant production at the time, with lush costuming and jewelry.

Scored for: flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, trumpet, coronet, 3 trombones, timpani, percussion, harp, and strings. [2[1.pic]222-42[2crt]30-tmp+4-hp-str]

Pelléas et Mélisande Suite, Op.80

Gabriel Fauré (1845-1924)

I. Prélude
II. Entr'acte (La Fileuse)
III. Sicilienne
IV. Morte de Mélisande

Last SEKSO Performance: 10-24-1993
Written In: 1898-1909

The story of Pelléas and Mélisande is a dark and complicated tale. For Maurice Maeterlinck's 1893 opening in Paris, dark lighting was used, and a gauze screen in front of the stage helped enforce the dream like quality of the performance, influenced by the Symbolist movement in Europe at the time.

In the spring of 1898, Fauré, with the assistance of Charles Koechlin, a pupil of his at the Paris Conservatory, hurriedly wrote seventeen pieces for an English language production in London. A few years later, Faure chose three of the pieces to form a concert suite, and in 1909 added the Sicilienne, to create the four movement work we know today.

The first movement, Prelude is the opening for act one. The French horn symbolizes one of the main characters, Golaud, a hunter who discovers Melisande wandering through a shadowy forest. The Entr'acte, La Fileuse, or Mélisande at the spinning wheel, introduce Act III. The third movement, Sicilienne, was added in 1909 and depicts the opening of Act II. The last movement, Mort de Mélisande, is the opening to the final act and is derived from a song sung by Mélisande in Act III. It is slow and somber.

Maeterlinck's play captivated several composers. After Fauré, Debussy wrote for an operatic version; Sibelius wrote incidental music, and Schoenberg scripted it as a symphonic poem... contemporaries with different writing techniques all influenced by this work.

Scored for: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, harp, and strings. [2222-4200-tmp-hp-str]

Première Rhapsodie for Clarinet and Orchestra

Claude Debussy (1862-1918)

 

Written In: 1909-1910
First Performed:Paris, July 14, 1910
Dedicated to: clarinetist Prosper Mimart

In 1909, Gabriel Fauré, the Director of the Paris Conservatoire, appointed Debussy to the institution's Board of Directors. One of his first duties was to supply two works for the following year's clarinet examinations. The Conservatory's rules mandated a slower section to show off the performers tone, and a faster, brighter section to display their dexterity.

The first was a short sight-reading exercise, and the Rhapsodie was the second. With the name "premiere" rhapsody, one could assume a second was expected, however this never came to pass, at least for the clarinet. He did write a second rhapsodie, however it is for the saxophone.

Written as an examination, the piece utilizes all of the technical challenges inherent to the instrument. Difficult fingerings, soft and high lines to display breath control, and demanding runs across the "break" moving from one register to another.

Originally written for clarinet with piano accompaniment, Debussy orchestrated the piece in 1911.

Scored for: 3 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. [3[1.2.3/pic] 3[1.2.Eh] 22-4231-tmp+2-hp-str]


Clayton Dunaway, clarinet

Clayton Dunaway, clarinet

Clayton Dunaway is a senior music education major from Joplin, MO. Clayton is an active member of the Southeast Kansas Symphony, having served as both Principal and second clarinetist since 2006. He has also served as Principal clarinetist with the PSU Wind Ensemble and Chamber Winds since 2006. Clayton is the recipient of several awards and honors from Pittsburg State University including first prize in the PSU 2006 Young Artist Clarinet Competition, Outstanding Student Awards in the Music Theory, Music History, and Woodwind Performance areas, and inclusion in either the Dean's list or All-A scholastic honors list every semester since fall 2006.

During his college career at PSU, Clayton has performed in several clarinet masterclasses; Jon Manasse (Eastman School of Music), Ed Cabarga (National Symphony Orchestra), and Håkan Rosengren (International soloist). This past spring, he was awarded 1st prize in the Wadill Chamber Music Competition performing the Mozart "Kegelstatt" Clarinet Trio K.498 along with violist, Gloria Britez Scolari and pianist, Daniel Benitz. Clayton is also a member of the Pi Kappa Lambda Music Honor Fraternity.

Le carnaval des animaux
(The Carnival of the Animals)

Camille Saint-Saëns (1835-1921)

 

I. Introduction et marche royale du lion
(Introduction and Royal March of the Lion)    
II. Poules et coqs (Hens and Roosters)
III. Hémiones (animaux véloces / quick animals)
IV. Tortues (Tortoises)
V. L'éléphant (The Elephant)
VI. Kangourous (Kangaroos)
VII. Aquarium
VIII. Personnages à longues oreilles
(Characters with Long Ears)   
IX. Le coucou au fond des bois
(The Cuckoo in the Depths of the Woods)    
X. Volière (Aviary)
XI. Pianistes (Pianists)
XII. Fossiles (Fossils)
XIII. Le cygne (The Swan)
XIV. Finale

Last SEKSO Performance: 10-5-1997
Written In: 1886
First Performed: Publicly in 1922

 

There will be a special performance of Carnival at 9:00 a.m. on Friday, September 24th in the Pittsburg Memorial Auditorium, as a USD250 Public Schools educational concert!

Saint-Saens composed his "grand zoological fantasy" in 1886 as a simple entertainment for his friends. It wasn't written 'for real, to be played in concert as his other pieces, perhaps in part because it poked a bit of fun at Saint-Saens' contemporaries. It was given a second performance for Franz Liszt in July of that year, prior to the death of his friend. After that, the composer forbade any performance until after his own death, save "the Swan", a beautiful melody written for the cello. The first public performance took place on February 26, 1922 - two months after the composer's death. Much to his chagrin, had he known it, but the Carnival soon became one of his most famous works.

The original score called for only 12 instruments, including two pianos. Narration was added later from various sources, including even a twist by Peter Schickele, however the words of Ogden Nash are widely accepted as the standard narration.

The fourteen short movements are:

Introduction et marche royale du lion (Introduction and Royal March of the Lion) - "The lion is the king of beasts..."

Poules et coqs (Hens and Roosters) - "The rooster is a roistering hoodlum..." a parody of Rameau's La Poule

Hémiones (animaux véloces / quick animals) - "Have you ever harked to the donkey wild..." Perhaps Saint-Saens believed that music critics belonged in a zoo?

Tortues (Tortoises) - "Come crown my brow with leaves of myrtle..." Well, you certainly can see where that is headed. This uses the Can-can from Offenbach's Orpheus in the Underworld but . . . s l o w e d. . . d o w n . . . .

L'éléphant (The Elephant) - "Elephants are useful friends..." The graceful Dance of the Sylphs from Berlioz's Damnation of Faust is further afflicted by being assigned to these lumbering "wannabes".

Kangourous (Kangaroos) - "The kangaroo can jump incredible..." for two solo pianos.

Aquarium - "Some fish are minnows, some are whales..."

Personnages à longues Oreilles (Characters with Long Ears) - "In the world of mules there are no rules..."

Le coucou au fond des bois (The Cuckoo in the Depths of the Woods) - "Cuckoos lead bohemian lives..."

Volière (Aviary) - "birds are incurably philharmonic..."

Pianistes (Pianists) - "Some claim that pianists are human..." being a pianist, Saint-Saens thought he could include himself in the zoo, and he sets out with a 'scale-ish' rendition of the performer at work.

Fossiles (Fossils) - "the fossils gathered for a ball..." Not to leave himself out, the composer parodies his own Danse Macabre, and a bit of Rosinni's Barber of Seville.

Le cygne (The Swan) - "The swan can swim while setting down..." a parody in the sense that this is a serious lyrical piece inserted into the zoo.

Finale - "Now we've reached the grand finale..." A wild combination of all of the animals at once... perhaps it's feeding time?

Scored for: flute, piccolo, clarinet, percussion, xylophone, 2 pianos, narrator, and strings. [1[1/pic]010 - 1 perc - glass harmonica[glock or cel] - str 5t perc:xyl]


Reena Berger Natenberg, piano

Reena Berger Natenberg, piano

Pianist Reena Berger Natenberg has performed internationally as soloist throughout North America, South America, Asia and in Europe, These appearances include performances at the Cleveland Museum of Art, the Edward Pickman Hall in Cambridge Massachusetts, The Federal Reserve Bank of Boston Midday Concert Series, the House of the U.S. Ambassador to Israel, and the Christ Church Cathedrale, the Chapelle du Bon Pasteur, Salle Claude Champagne, Salle Marie Stèphane and the Gelber Conference Center in Montreal. She was featured on radio and television, most notably in a television documentary pertaining to the Czech culture playing the piano pieces of Smetana and Martinu, and on Boston's radio station WGBH in the program "Off the Record". Dr. Natenberg has also performed in many music festivals. They include: The Banff School of Fine Arts (Canada), The Russian School of Music (Freiberg, Germany), the Kent-Blossom Music Festival (U.S.) and the Orford Arts Center (Canada).

More on Reena Berger Natenberg


Gulimina Mahamuti, piano

Gulimina Mahamuti, piano

A native of Karamay City, western China, Dr. Gulimina Mahamuti enjoys an active career as a soloist, collaborative pianist, and piano teacher in both China and the United States. Her performances have taken her to Canada, major cities throughout China, and the Midwest and East Coast of the United States. She performed Chopin's Andante Spianato et Grand Polonaise, in E-flat major, Op. 22 and the famous Huang He (The Yellow River) Piano Concerto with the Harbin Symphonic Orchestra (2005, China). In 2008, she opened the University of Missouri-Kansas City (UMKC) Festival, A Schoenberg Retrospective, with Drei Klavierstücke (Three Pieces), op. 11.

More on Gulimina Mahamuti

Related Links

Adolphe Charles Adam (1803-1856)

Gabriel Urbain Fauré (1845-1924)

Claude-Achille Debussy (1862-1918)

Camille Saint-Saëns (1835-1921)

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