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

2013-14 Season

Thursday, March 13th, 2014
~ 7:30 p.m. ~
Pittsburg Memorial Auditorium

Concert program (PDF)
Concert poster

Concert Graphic

"Virtuosi from the South"
March 13th, 2014
Program Notes

Fanfare from La Péri (The Flower of Immortality)

Paul Dukas (1865-1935)

Completed In: 1911
First Performed: Paris
Another Fact: Dukas' last published piece

The Oriental Ballet, La Peri was Paul Dukas' last major work in 1912. The story follows a man, Iskender, whom at the end of his days of youth, decides to go in search of the Flower of Immortality. He comes across a mythical Peri, an imaginary fairy in the Persian mythology which holds the flower of immortality at the end of the earth; a place of utmost tranquility and calm. Later in the story, Iskender finds the Peri sleeping and he steals the flower from her. Eventually the Peri recovers the flower from him, then slowly disappears and returns to paradise. Iskender realizes with peaceful acceptance that he has been stranded and left to die. The fanfare was added at the last minute before the ballet's premier. This short two-minute prelude is performed more often than the ballet itself as a whole.

- Raúl Munguía

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

Hungarian Dance No. 5 in G Minor (f# minor)

Johannes Brahms (1833-1897)

Allegro - Vivace

Last SEKSO Performance: June 4, 2000
Completed In: 1869
First Performed: info
Another Fact: more info

Program notes are posted as they become available.

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]

Concertino for Piano and Orchestra

M. Camargo Guarnieri (1907-1993)

I. one
II. two
III. three

Last SEKSO Performance:
Completed/Written In:
First Performed: info
Another Fact: more info

Camargo Guarnieri (1907-1993), one of the most important composers of Latin America in the 20th century, has left an enormous output of piano music, either solo, chamber music or concerti. Throughout his entire productive years Guarnieri embraced nationalism in various ways, mainly by using elements of both folk and urban popular music of different regions of Brazil as material source for his ingenious mind as composer, priviledging concision of form, motivic variation, color, and rhythmic drive. The Concertino is a concerto of festive nature, possibly conveying the melting pot of Brazilian musical elements, with dashes of Jazz harmonies, all whithin the framework of traditional concerto literature. The virtuosistic writing of the piano, instrument that Guarnieri mastered with ease, contaminates all sections of the orchestra, celebrating the genre concerto as a symphonic piece of immediate appeal for all levels of music appreciators.

- Ney Fialkow

Scored for: 2 flutes, 2 oboes, 2 horns and strings. [2222-4222-tmp-str]


Ney Fialkow, piano

Ney Fialkow, piano

Winner of several piano competitions, including the much coveted Eldorado Music Prize in São Paulo, pianist Dr. Ney Fialkow currently conciliates a busy career as soloist and colobarative pianist with that of Associate Professor in the Music Department of the Federal University of Rio Grande do Sul, in Porto Alegre, Brazil, the same school where he obtained his Bachelor's degree in Music, under Zuleika Rosa Guedes. His appearances have captivated audiences of several concert halls in his country and abroad. Dr Fialkow has given piano master classes in several countries in Music Schools and in important Music Festivals, and has been a jury member of several important piano competitions.

Sponsored by the Brazilian Government, Dr. Fialkow holds a Master Degree in Music from the New England Conservatory (Boston) under Patricia Zander and Doctor of Musical Arts degree from Peabody Conservatory of the Johns Hopkins University, with distinction, having studied with Ann Schein, having been her assistant.

As recording artist, Dr. Fialkow released the CD "Sonatas Brasileiras" (Brazilian Sonatas) along with the acclaimed violinist Carmelo de los Santos, recorded live, which has been regarded as "one of the best chamber music recordings Brazil has ever produced." It received the Açoriano Prize for Best Classical CD in 2009. In 2006 he performed Brazilian chamber music with the Porto Alegre Trio, along with Cármelo de los Santos and Hugo Pilger, in Berlin, in the Culture Cup Project sponsored by the Ministry of Culture of Brazil.

In 2010 he participated as soloist in the premiere of "Mahavidyas" by Brazilian composer Vagner Cunha, as well as in the recording (CD) of the integral version of the work. Both he and pianist Dr. Cristina Capparelli received the Açoriano Prize for best interpreters for this.

Dr Fialkow explores repertoires of various styles and historic periods, including works he has premiered for piano solo, chamber music and piano concerti. Having appeared as soloist with several orchestras in Brazil, his debut occurred at the age of 18 with the Porto Alegre Symphony Orchestra, under the late Camargo Guarnieri.

photo, courtesy Leandro Taques

Nine Variatns on Paganini, for Double Bass and Orchestra

Frank Proto (1941- )

I. one
II. two
III. three

Last SEKSO Performance:
Completed/Written In:
First Performed: info
Another Fact: more info

Niccolo Paganini's 24th Violin Caprice has inspired composers for many generations. The simple 16-measure tune lends itself both melodically and harmonically to a myriad of treatments from styles classical to the avant-garde. If there were such a thing as repertoire for composers this little melody would certainly occupy a prominent spot. Whether writing short variations on the melody or developing longer songs or movement-like segments using mainly its harmonic underpinnings, it is one of those challenges that - when all's said & done - is just plain fun.

Working with the 24th Caprice though usually implies more than just fun. Paganini (1782-1840) is still regarded as one of the greatest violinists of all time. Though ill for much of his life, he managed to transform the technique of the violin both as a performer and a composer, influencing giants such as Robert Schumann, Berlioz, Brahms, Rachmaninov, Liszt and Lutoslawski. If there is one word that comes to mind when thinking of Paganini that word has to be virtuoso. So here is where we want to have some great fun. But here is where we also run into a bit of trouble, because for the performer it is not easy fun - although easy is the way it has to appear to the audience.

All ages have their virtuosi and ours is no exception. For us double bassists, through the efforts of some exceptional performers and teachers, the past 40 years or so have also seen a great advancement in the playing technique of our instrument. One of these performers is François Rabbath whom I've had the pleasure of collaborating with for the past 25 years. Rabbath (born in 1931) has helped to transform the playing technique of the instrument both through his performing and more importantly, by documenting his very unique technique in his multi-volume method: Nouvelle Technique de la Contrebasse (A New Technique for the Double Bass). He possesses an astounding, Paganini-like technique and is one of those virtuosi who have the ability to make the extremely difficult sound easy. The Nine Variants was composed for and dedicated to him.

François Rabbath performed the world premiere performance of the Nine Variants on Paganini for Double Bass and Orchestra with the Honolulu Symphony Orchestra on March 31, 2002.

- Frank Proto/Liben Music

Scored for: 2 flutes, 2 oboes, 2 horns and strings. [2222-4222-tmp-str]


Marcos Machado, double bass

Marcos Machado, double bass

Marcos Machado enjoys an international career as a concert artist, teacher and chamber musician. A native of Brazil, Marcos is the only South American to have earned both "Teaching and Performance" diplomas from the L'Institut International de Contrebasse de Paris where he studied with renowned double bassist François Rabbath. At The University of Southern Mississippi (USM), Machado teaches classical double bass, chamber music and jazz studies and is the director of the Southern Miss Bass Symposium. He is also the principal bass of the Meridian Symphony and is a member of the USM Jazz Ensemble. In Brazil, he is the Founder and Pedagogic Director of FIMP - Festival Internacional Música no Pampa (Bagé, Brazil), on the border of Brazil and Uruguay.

Recent important performances include the world premiere of Arthur Barbosa's Concert for Double Bass and Orchestra dedicated to Machado, the world premiere of Frank Proto's Sonata at the International Society of Bassists Convention, the South American première of Frank Proto's Concertos: Carmen Fantasy, and Nine Variants on Paganini. Other important performances include Proto's Four Scenes after Picasso with the Meridian Symphony, Charles Young's Concerto for Double Bass with the USM's Wind Ensemble and the Bottesini's Grand Duo, with violinist Cármelo de los Santos, with the New Mexico University Symphony Orchestra, Versatilis Chamber Orchestra, Master Camerata and recently in Belém, Brazil.

- U of Southern Mississippi School of Music
Full Marchado bio

Symphony no 8 in B minor, D. 759
"The Unfinished"

Franz Schubert (1797-1828)

I. Allegro moderato
II. Andante con moto

Last SEKSO Performance: Sep 30, 2007
Written In: 1822
First Performed: 1865

In spite of the fact that the B-minor symphony has become, almost mythically, the unfinished symphony, Schubert started 13 symphonies and completed only seven of them. In fact, he left many "unfinished" works in every area, distracted by another, better opportunity, or simply when other ideas came to mind. Nevertheless, in his short lifetime (he actually died at a younger age than Mozart) he produced over one thousand cataloged works. Unfinished works by major composers are not unheard of; Mahler and Bruckner are but two composers with unfinished symphonies. Peter Schickele even wrote an "Unbegun Symphony", he was simply born too late to write the first two movements?

The B-minor symphony was started in the fall of 1822, and set aside the next spring when Schubert turned his attention to another work. Two movements had been completed and sketches for the third begun. Schubert had just been made an honorary member of the Styrian Music Society in Graz, one of the few honors received in his lifetime. Included with a letter of appreciation to the Society was an I.O.U. of sorts, the promise of a symphony as a token of his gratitude. Later that year, a manuscript was given to Josef Hüttenbrenner, whose brother Anselm was a member of the Society.

Anselm never sent the score on to the Society, perhaps because it was only the two movements. He held it for 40 years, only mentioning its existence in passing in a biographical dictionary. It was in this source that a Schubert biographer, Heinrich Kreissle von Hellborn discovered its existence. When if finally surfaced for a Vienna performance in 1865, the audience quickly recognized the melodic treatments as those of "Schubert!"

The first movement, Allegro moderato, opens from the deep, dark recesses of the low strings, flowing into a melody of oboe and clarinet over the agitations of the violin section. This tension melts away into one of the most recognized melodies of Classical/Romantic literature, brought forth by the cello section. A series of pizzicato notes in the strings introduce the development section of the movement.

The second movement, Andante con moto is a bit more serene, the principal melody introduced by the upper strings and the secondary by the clarinet and oboe. Beginning E Major, this movement takes side trips into C# and A minor before returning to the opening key for a peaceful finish.

The argument that the two movements were written to stand alone, not needing a third of fourth, seems a bit thin. Perhaps it's believable after more than a century of hearing the work stand on the merits of the two movements. Could we have said the same of Beethoven's ninth symphony, if he had only written two movements? Several attempts have been made others to 'finish' the piece, the most successful using the available sketches of the third movement, followed by the B minor entr'acte incidental music from Rosamunde, however it is almost always performed as "the symphony that Schubert wrote, but never finished".

Scored for: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings.
[2222-2230-tmp-str]

Related Links

Paul Abraham Dukas (1865-1935)

Johannes Brahms (1833-1897)

Mozart Camargo Guarnieri (1907-1993)

Frank Proto (1941- )

Franz Schubert (1797-1828)

Double Bass Links:

Piano Links: