re W ffi W 'ilW,ii#Wiltut Arizona State University School of Music STUDENT RECITAL SERIES Mu SI StrMBLE .: Gt-pirt ].,1 The I Www KATZIN CONCERT IIAI-IMonday, March 6,2000.7:30 p.nr. PROGRAM Oriens III (197tt) DivagaEOcs Entreato Rond6 Kortney James, Jlute Julee Avallone, Jlute LindaWatkins, flute Retrato (1969) tcxt: Cccilia Merreles Cantares (1969/84) text: Walter Mariani Melanie Ohm, soprano Rilbia Santos, piano Pr6logo, Discurso e Retlexio (1980) Walter Cosand, piano Variag6es S6rias (199 I ) Sarah Andrew, Jlute Michele Murray, aboe RebeccaTout, clarinet Rebecca Cain, bassoon Eric Egle, horn **There will be a l}-minute intermission** Tr€s Cancdes Simples (198a) text: Orlando Codl VisOes Noite c Dia ( (,iii.ii.;ttl Melanie Ohrn, soprano Rilbia Santos, piano Tango (1993) Rrtbia Santos, piano Te scarollo, piano H amilto n ***,t+,k********* oF E Anrs School of Music , R7 Box 870405,Tempe B ,asu. eclu/ cfa/ ml.lsrc 6 5 3 37 Ronaldo Miranda was born in Rio de Janeiro in 1948 where he studied piano and Composition at the Federal University School of Music.. Mr. Miranda has represented Brazll at numerous International music festivals including the Unesco International Rostrum for Composers in Paris, the World Music Days in Aarhus (Denmark), the X Biennial of Music of Berlin, and the Budapest Spring Festival. He has received numerous honors and awards including the Association of Art Critics of Sao paulo,s 19g2 Composer of the Year Award, the Government of the State of Rio de Janeiro,s Trofeu Golfinho de Ouro, and Chevalier dans l'Ordre des Arts et des Letters from the French Ministry of Culture. Miranda's music, which encompasses a wide variety of musical genres including opera, orchestra, and chamber music, has received performances at eueen Elizabeth Hall, Tonhalle, Mozarteum, Carnegie Hall, and many other important venues throughout Brazll and Europe Freely excerpted from notes by the composer: "Oriens III (1978) - which means orient in Latin - begins with a sinuous movement entitled Divagag6es (Wanderings), leads to an incisive game of contrasts in the second movement Entreato (Interact), and concludes with an amusing Rondo, in which the melodic-harmonic element prevails with more lyrical intensity." Prologue, Discourse, and Reflection was written in 1980 for Jos6 Carlos Cocarelli. It is formally constituted of a recitative, a'toccatina,' and a'fugato'that received the names of Prologue, Discourse, and Reflection because they suggested to me the scnorcus atmospheres of each of these segments. Variagdes S6rias (1991) - a title that I borrowed from Felix Mendelssohn, whose homonymous solo piano work I simply worship - pays tribute to Anacleto de Medeiros, whose 'schottisch' theme Yara serves a point of departure for 10 well_diversified variations which altemate between the lyrical and the playful, from the urban'modinha'of Portuguese flavor, to the spirit of a'coreto'band from Brazil's interior. The Three Simple Songs were concluded in 1984 and dedicated to Carol McDavit, who, at my side, debuted the work in the Auditorium of IBAM. The texts are of Orlando Codii, partner and friend who died in 1996. Visions, the first of the songs, brings something humorous and nostalgic to it; Night and Day is the most charged with emotion; and Cotidiano (Quotidian) plays with a routine daily hypothetical, in a musical texture much more contemporary that the two previous pieces. The Tango, for piano four hands, is a work that intends to explore the instrument with vigor and energy, using as a base of its harmonic coloration the octatonic scales, widely used by Stravinsky, Debussy, and Bart6k. When I composed the Tango, in 1993,I had in mind these octatonic scales and I utilized them, fragmentarily and without rigidity, for almost all the moments of the work.