Presents!
Reynaldo Miranda, Percussion
Thursday, March 21, 2024 8:30 pm Van Cliburn Concert Hall at TCU
Program
Lux Aurumque Eric Whitacre
(b. 1970)
Ashlyn Bailey, percussion
Maggie Hogan, percussion
Pauline Napier, percussion
Preludes Michael Burritt
(b. 1962)
Prelude 1
Prelude 3 “Ballad”
Eight Pieces for Four Timpani Elliot Carter
(1908-2012)
VIII. Saeta
Sculpture in Wood Rüdiger Pawassar
(b. 1964)
Anthony Chmielewski, percussion
Hezan Daroona, percussion
Joshua Santana, percussion
Restless Reynaldo Miranda
(b. 2001)
Misty Erroll Garner
(1921-1977)
Emma Cave, vocals
Holt Lee, bass
Mr. Joey Carter, piano
Prelude no. 1 Emmanuel Sejourne
(b. 1961)
Glimmer Ivan Trevino
(b. 1983)
Hezan Daroona, piano
Ashlyn Bailey, percussion
Alexander Jaime, cello
This recital is given in partial fulfillment of the requirements for a Bachelors
in Music Education. Reynaldo Miranda is a student of Dr. Brian West, Mr. Joey Carter, and Mr. Jeffrey
Hodge.
The use of recording equipment or taking photographs is prohibited.
Please silence all electronic devices including watches, pagers, and phones.%
!
!
Program'Notes'
'
'
Lux$Arumque$$ $ $ $ $ $ $ Eric$Whitacre$
$
From%the%composer,%
%
After%deciding%upon%the%poem%by%Edward%Esch%(I%was%immediately%struck%by%its%genuine,%
elegant%simplicity),%I%had%it%translated%into%the%Latin%by%the%celebrated%American%
poet%Charles%Anthony%Silvestri.%A%simple%approach%was%essential%to%the%success%of%the%work,%
and%I%waited%patiently%for%the%tight%harmonies%to%shimmer%and%glow.%
Text%from%poem%
Lux,%
Calida%gravisque%pura%velut%aurum%
Et%canunt%angeli%molliter%
modo%natum.%
Light,%
warm%and%heavy%as%pure%gold%
and%angels%sing%softly%
to%the%new-born%babe.%
Lux%Aurumque%was%commissioned%by%the%Master%Chorale%of%Tampa%Bay,%and%is%dedicated%
with%love%to%my%great%friend%Dr.%Jo%Michael%Scheibe.%
$
$
Preludes$ $ $ $ $ $ $ $ Michael$Burritt$
$
These%short%pieces%were%a%part%of%my%introduction%to%marimba%literature%while%beginning%
my%studies%at%Blinn%College.%The%book%contains%five%amazing%short%solos%and%these%two%were%
my%favorite.%Both%of%these%short%pieces%are%special%to%me%because%they%remind%me%of%just%
beginning%college%and%being%a%naive%musician%during%the%Spring%2020%semester%which%most%
know%as%the%COVID-19%outbreak%semester.%Since%beginning%my%percussion%career%in%college,%
Michael%Burritt%has%become%one%of%my%favorite%marimba%composers%as%well%as%musicians%
and%has%shaped%how%I%enjoy%and%perform%percussion%literature.%%
$
Saeta$$ $ $ $ $ $ $ $ $ Elliott$Carter$
$
From%composer’s%website,%
%
I.%Saeta%(1949/1966)%–%Al%Howard%–%An%Andalusian%song%of%improvisatory%character%sung%
during%an%outdoor%religious%procession,%usually%at%Easter;%said%to%be%the%descendent%of%a%rain%
ceremony%during%which%an%arrow%(saeta)%was%shot%into%the%clouds%to%release%the%rain%
$
$
! $
!
!
Sculpture$in$Wood$ $ $ $ $ $ $ Rüdiger$Pawassar$
$
From%the%composer,%%
%
Sculpture%in%Wood%was%written%in%1995%for%the%Marimba%Art%Ensemble%Basel/Switzerland.%
The%quartet%played%the%world%premiere%at%a%percussion%festival%in%Frieburg%in%1995%and%later%
recorded%it%on%the%CD%Japan%Tournee%97.%Since%then,%the%piece%has%been%performed%all%over%
Europe%and%most%recently%has%become%a%hit%in%the%United%States%with%Universities%and%
professional%marimba%ensembles.%
The%work%is%in%written%in%an%A-B-C-A%form.%The%piece%is%almost%a%classical%sounding%work,%
but%resembles%many%harmonic%structures%found%in%70’s%and%80’s%jazz.%The%composer%
comments%that%when%writing%this%work%it%resembled%to%him%the%making%of%a%wood%sculpture%
where%in%his%drafts,%many%parts%were%cut%off,%added%again,%shifted,%and%intertwined%with%one%
another.%Not%to%mention%the%semicircular%formation%of%the%marimbas%quartet%is%a%sculpture%
of%wood%in%and%of%itself.%%
%
$
Restless$ $ $ $ $ $ $ $ Reynaldo$Miranda$
$
Restless%is%a%marching%snare%drum%solo%that%is%a%showcase%of%technical%ability%but%is%also%a%
metaphor%for%being%a%busy%musician,%or%percussionist%in%my%case,%trying%to%find%the%perfect%
balance%of%practice,%study,%sleep,%and%personal%time%which%can%almost%seem%unattainable.%
The%heartbeat%motif%in%the%introduction%continues%throughout%the%piece%and%builds%as%
anxiety%and%stress%build%or%decrease%with%the%flow%of%life%as%a%student.%%
%
The%piece%begins%with%a%buzz%roll%opening%that%symbolizes%deciding%what%path%one%might%
take%for%a%career,%the%numerous%and%sporadic%figures%symbolize%different%paths.%Finally,%
music%is%chosen%with%the%military-esque%introduction%that%depicts%following%a%regiment%and%
structure%from%the%anticipation%of%university/college%being%very%difficult.%Drumming%is%
something%that%I%am%extremely%passionate%about%but%as%this%solo%will%depict,%that%activity%can%
become%stressful%and%sometimes%even%a%chore%with%life’s%ups%and%downs.%During%these%
moments%of%stress,%I%always%found%myself%listening%to%music%that%I%enjoy%such%as%piano%solos,%
jazz%music,%or%ambient%music%that%would%help%me%stay%grounded.%
%
The%solo%ends%with%finding%peace%and%coming%to%reality%that%no%matter%how%hard%life%gets,%
and%it%will%be%at%points,%there%is%always%a%way%to%find%peace%within%yourself%to%continue%to%
strive%towards%your%inner%goals.%
$
$
Misty$ $ $ $ $ $ $ $ $ Erroll$Garner$
$
Erroll%Garner%has%intrigued%me%since%finding%out%about%him%through%his%tune%Misty.%Erroll%
never%learned%how%to%read%music%but%by%watching%and%listening%to%him,%I%would%have%never%
known%because%of%how%much%he%has%perfected%his%craft.%The%story%behind%this%tune%is%that%
Erroll%was%on%a%plane%one%night%and,%while%missing%his%wife,%looks%out%of%the%window%to%
where%he%could%not%see%anything%but%clouds%in%a%thunderstorm,%so%everything%was%foggy,%or%
“misty.”%The%words%were%not%a%part%of%the%tune%originally%and%were%added%later%by%Johnny%
Burke.%This%tune%was%one%of%my%first%introductions%to%jazz%as%a%college%musician%and%for%that%
reason%will%remain%special%and%dear%to%my%heart.%%
$
Prelude$no.$1$ $ $ $ $ $ $ $ Emmanuel$Sejourne$
!
!
$
Emmanuel%Séjourné%was%born%in%1961%in%Limoges,%France,%and%began%his%musical%training%on%
violin%and%piano%at%the%Conservatoire%de%Strasbourg.%At%age%fifteen%he%enrolled%in%a%
percussion%course%to%learn%keyboard%percussion%but%the%instructor,%Jean%Batigne,%insisted%he%
begins%with%drums.%The%youthful%Séjourné%challenged%his%professor,%so%Batigne%gave%him%a%
score%to%play.%Having%won%awards%in%piano,%of%course,%he%could%read%a%score,%so%Batigne%
declared,%“You%will%study%drums%because%I%believe%it%is%necessary;%do%what%you%want%with%the%
keyboard%instruments.”%Batigne%introduced%Séjourné%to%contemporary%music%and%the%art%of%
improvisation—a%technique%he%uses%when%composing.%He%remained%in%Batigne’s%studio%for%
several%years%stating,%“Later,%the%best%lessons%I%had%with%Batigne%happened%at%the%
café...between%technical%classes,%he%taught%me%about%music,%about%musical%life.”%As%a%teacher%
himself,%Séjourné%stresses%versatility,%encouraging%students%to%explore%multiple%instruments%
and%styles%of%music.%He%states%his%teaching%philosophy%in%pragmatic%terms.%“As%a%teacher,%
from%the%moment%I%have%students…my%goal%is%for%them%to%eat.%That%they%have%fun%doing%what%
they%do,%of%course,%but%they%also%must%eat.”%
%
Prelude%no.%1%was%written%for%the%International%Marimba%Competition%in%Salzburg%and%
dedicated%to%Bogdan%Bacanu.%$
$
Glimmer$ $ $ $ $ $ $ $ Ivan$Trevino$
$
From%the%composer,%
%
Glimmer%(2012)%was%commissioned%by%Kathleen%Kemp,%a%cellist%in%the%Rochester%
Philharmonic%Orchestra%and%a%dear%friend%of%mine.%The%piece%is%scored%for%cello,%piano,%
and%two%percussionists.%She%asked%me%to%compose%a%piece%to%perform%with%friends%and%
family,%including%her%son%Michael%Kemp,%a%professional%orchestral%percussionist.%The%
piece%was%premiered%in%January%2012%in%Kilbourn%Hall%at%Eastman%School%of%Music,%
performed%by%Kathleen,%Michael,%along%with%percussionists%Em%Feeney%and%Damon%
Martinez.%
%
Sometimes,%life%gets%crazy,%especially%as%a%full%time%musician.%In%between%the%hustle%
and%bustle%of%touring,%teaching,%and%bigger%life%events%like%getting%married%and%buying%
a%home,%I%needed%an%outlet%to%take%a%breath%and%relax.%Glimmer%speaks%to%the%
meditative%part%of%life%that%we%sometimes%need%to%visit.%
