Bachianas Brasileiras No. 4 (1942)I. Prelude – Introduction

“Mômoprecóce” Fantasy for Piano and Orchestra (1921) Simone Leitão, piano

I. Pierrot’s Little Horse / O ginete do PierrozinhoII. Little Devil’s Whip / O chicote do diabinhoIII. Pierrete’s Morning / A manhã da PierreteIV. Domino’s Jingle Bells/ Os guizos do DominózinhoV. The Ragpicker’s Pranks / As peripécias de um trapeirozinhoVI. The Mischievous Little Masker / Traquinices do mascarado mignonVII. The Precocious Daydreamer / A gaita de um precoce fantasiadoVIII.The Frolics of a Children’s Carnival / A folia de um bloco infantil

- Intermission -

Bachianas Brasileiras No. 5 (1938/45)Edna D’Oliveira, sopranoAshley Garritson, cello

I. Aria (Cantinela) II. Dança (Martelo)

Selections from “Forest of the Amazon” Suite (1959)Edna D’Oliveira, soprano

I. Overture / AberturaII. Dance of the Indians / Dança dos índiosIII. Deep in the Forest / Em plena florestaIV. Forest Bird – First Song / Pássaro da floresta - primeiro cantoV. Nature's Dance / Dança da naturezaVI. Forest Bird – Second Song / Pássaro da floresta - segundo cantoVII. Song in the Forest / Canto na FlorestaVIII. Conspiracy and War Dance / Conspiração e dança guerreiraIX. Sails / VeleirosX. Twilight Song / Cair da tardeXI. Forest Bird – Fourth Song / Pássaro da Floresta – quarto cantoXII. Love Song / Canção de amorXIII. Sentimental Melody / Melodia sentimentalXIV. Forest Fire / Fogo na florestaXV. Finale / Epílogo

“Amazon Inspirations”A Tribute to Villa-Lobos

Featuring The Miami Symphony Orchestra

Luiz Fernando Malheiro, guest conductorSimone Leitão, piano

Edna D’Oliveira, soprano

John S. and James L. Knight Concert Hall

is sponsored by

With additional support provided by: y

MEET THE ARTISTS

Simone Leitão – Piano, Founder and Artistic Director of the Bra-zilian Classical SeriesThe Brazilian born Miami-based pianist, Simone Leitão, founder andArtistic Director of the Brazilian Classical Series, enjoys an active ca-reer as soloist and chamber musician in three continents. Simoneholds a Doctorate of Musical Arts in Piano Performance by the Uni-versity of Miami (Studio of Ivan Davis), a Masters in Music by theNorwegian Academy of Music, and Bachelors of Music from the Uni-versity of Rio de Janeiro. Her playing has been described as intense,full of character, creative, rhythmically strong, and marked with a

solid and ample technique, while she continues to rise as one of the most excitingpianists of her generation to emerge from Brazil. Simone Leitão dedicated her D.M.A.dissertation to the analysis, historical background, and interpretative aspects ofMômoprecóce, one of Villa-Lobos’ masterpieces for piano and orchestra.

Luiz Fernando Malheiro – Guest ConductorAcknowledged by music critics as one of the leading names in theBrazilian opera scene, Maestro Malheiro has more than 50 operaticworks in his repertoire. He is Artistic Director and Conductor of theAmazon Philharmonic Orchestra and of the Amazon Opera Festival(FAO). Previously, he was the director of opera at the Municipal The-ater of Rio de Janeiro. Winner of the Carlos Gomes Award: OperaConductor (2009), Universe of Opera in 2000, he led the first Brazil-ian production of Richard Wagner’s complete Ring Cycle at the 2005FAO for which he received the Universe of Opera and Performance

of the Year awards. In 2004, 2005 and 2007, he conducted in the Opera Festival ofLa Coruña in Spain. In Brazil he has conducted the São Paulo Municipal SymphonyOrchestra, the Rio de Janeiro Municipal Theater Orchestra, the Brazilian SymphonyOrchestra, the São Paulo State Symphony Orchestra, (OSESP), the SymphonyOrchestra of Minas Gerais and the Symphony Orchestra of Bahia, among others. Hehas also led performances at the Theater Del Libertador of Cordoba, Argentina,Puerto Rico Symphony, Orchestra of the Olympic Theater of Vicenza and the Marchi-giana Philharmonic Orchestra, the Orchestra of the National Opera of Sofia in Bul-garia, the Orchestras of Galicia, Castille and Leon in Spain. Maestro Malheiro studiedcomposition with J. Targoszin in Poland and with R. Dionisi in Italy. He studied con-ducting with T. Colacioppo in Brazil and K. Missona in Poland. He also studied withLeonard Bernstein in Rome, with F. Leitner in Sienna and Carlo Maria Giulini in Milan.Maestro Malheiro is represented in Brazil by Eser Meneses of ArteMatriz(www.artematriz.com.br).

In association withThe Miami Symphony Orchestra, the Inter-American Culture and Development Foun-dation, The Rhythm Foundation, Gazeta, Classical South Florida Public Radio, CentroCultural Brasil USA, Brazilian-American Chamber of Commerce, and the Miami PianoCircle.

Proceeds benefit

Edna D’Oliveira, sopranoWith a sweet and crystal clear soprano voice, Edna D’Oliveira has de-lighted critics and opera fans in Brazil for many years. Her magnificentvoice has been a highlight of a variety of roles and repertoires that shehas participated in backed by her solid technique developed at the RoyalAcademy of London. She is a constant headliner in important venueslike the Teatro Amazonas and Sala São Paulo, where she is a featuredperformer for the season of the State Symphony. With the OSESP(Orquestra Sinfonica do Estado de São Paulo), some highlights include“Mass in C Minor, K 427”, conducted by Roberto Minczuk. In opera, her

standout roles have been "Gilda", in Verdi’s Rigoletto; "Musetta" in Puccini’s La Bohème,"Micaëla" in Bizet’s Carmen, and "Bess", in Gershwin’s Porgy and Bess. Aside fromthese performances, D’Oliveira was praised for her performances of L'Elisir d'Amoreby Donizetti, Orfeo ed Euridice by Gluck, and the popular productions of João e Maria(or Hänsel und Gretel by Humperdinck), at The Teatro Municipal de São Paulo, Wag-ner’s Die Walkure, during the 6th Amazon Opera Festival. Among her many awards,she has received the National Song Award from Funarte, an important cultural insti-tution in Brazil. Ms. Edna D’Oliveira is represented in Brazil by Cristiane Rosseto ofConcertato (www.concertato.com.br) and by Robert Gilder in Europe.

The Miami Symphony Orchestra (The MISO)MISO, The Miami Symphony Orchestra, founded in1989 by Maestro Manuel Ochoa has been providingprofessional classical music experiences for Miami-Dade for 20 seasons. With 80 professional musicians,selected from the finest artists from around the world

and across the United States, MISO, now the city's flagship orchestra, represents ex-ceptional talent and diversity that mirrors Miami's own international, multicultural rich-ness. This season, MISO presents 14 concerts that reflect the full range of the classicalcanon, interwoven with newer works by contemporary composers, including nationaland world premieres. Now as MISO celebrates its 21st season as Miami's flagship pro-fessional orchestra, since 2006, the baton is in the sure, exceptionally skilled hands ofMaestro Eduardo Marturet. A Venezuelan composer and conductor acclaimed on threecontinents, he is expanding the vision of the Orchestra for a world-class professionalsymphony anchored in Miami.

NEOJIBÁ – (Nuclei of Youth and Children’s Orchestras ofthe State of Bahia) – www.neojiba.org In Brazil, the NEOJIBA (Nuclei of Youth and Children’s Or-chestras of the State of Bahia) is an unprecedented initiative

of political action aiming to engage children and youth of various social classes andbackgrounds in the practice of orchestral playing, having excellence as its primaryfocus. The biggest feature of NEOJIBA which sets it apart from the majority of otherarts education initiatives is its real social integration, achieved by avoiding the prom-ulgation of the ghettos in poorer neighborhoods, and encouraging the team work andconstant interaction amongst children and youth from all segments of society. The im-plementation of NEOJIBA in the state of Bahia is being achieved through an artisticand fiscal partnership with the Bahia State Symphony Orchestra - OSBA, the pianistand conductor Ricardo Castro, and with FESNOJIV (State Foundation for the NationalSystem of Youth and Children’s Orchestras of Venezuela), the world renowned “El Sis-tema”, which was started 34 years ago in that country.

NEOJIBA is currently one of the priorities of the Cultural Secretariat of the Governmentof the State of Bahia. The first nucleus was established in September of 2007, in the cityof Salvador, comprised of 130 young instrumentalists selected through public auditions.

Two orchestras were formed: The 2 de Julho Youth Orchestra (J2J) and the PedagogicExperimental Orchestra (OPE). In this first phase, the members, who already had mu-sical initiation, received training and coaching to act as teachers and coordinators. Toensure the project’s continuity and expansion, these individuals teach the incomingmembers, as well as actively participate in the creation of new orchestra nuclei in theoutskirts and neighborhoods of Salvador and other municipalities.

The 2 de Julho Youth Orchestra (J2J) founded in September of 2007, is the first sym-phonic youth group in the State of Bahia and NEOJIBA’s principal ensemble. RicardoCastro, pianist and also the orchestra’s principal conductor, was invited by the CulturalSecretariat to implement the project throughout the state of Bahia, modeled after theacclaimed successes of Venezuela’s “El Sistema”.

In 2009, J2J was featured in the Campos de Jordão International Music Festival,Brazil’s most prestigious, and embarked on its first tour to several capital cities through-out the Northeastern region of Brazil. It has recently returned from a pedagogic ex-change with FESNOJIV in Caracas, Venezuela and will do a tour in South Brazil inJanuary just before participating at the Santa Catarina Music Festival.

Founder and director of NEOJIBA, Ricardo Castro is also the artistic director of theBahia State Symphony Orchestra (OSBA). He began his piano studies at the age offive. In 1984, he entered the Geneva Conservatory of Music, studying piano with MariaTipo and conducting with Arpad Gerecz. He was recipient of numerous internationalawards, including first prize in the Leeds International Piano Competition in England,the first Latin American to win it. He’s also teaches at the Haute École de Musique inLausanne, Switzerland.

BANK OF INSTRUMENTS – INTER-AMERICANCULTURE AND DEVELOPMENT FOUNDATION

The Inter-American Culture and DevelopmentFoundation (ICDF) is a nonprofit 501 (c) (3) or-

ganization committed to supporting cultural development in Latin America and theCaribbean. Founded at the initiative of the Inter-American Development Bank in 2005,the ICDF helps cultural organizations become more competitive and sustainable anddirects its efforts toward reaffirming culture as a tool of change while highlighting itssocial and economic development role in Latin America and the Caribbean.

The ICDF plans programs and projects that seek to promote sustainable ways of re-ducing poverty, improving quality of life, and increase social equity in the region. TheInter-American Culture and Development Foundation (ICDF) seeks to support culturaldevelopment in Latin America and the Caribbean, and to help cultural organizationsto become more competitive and sustainable. Among its many initiatives, The BANKOF INSTRUMENTS project emerged in response to the need of promoting social in-clusion in the region through artistic education for children and youth. The project aimsat supporting cultural institutions, such as orchestras, choirs, ballet and dance groups,theaters, cultural centers, and performing arts through the channeling of donated mu-sical instruments and other cultural goods, which will allow them to expand andstrengthen their educational programs. At the same time, the project facilitates the ex-change of knowledge between artists and students in the Americas. For tonight’s con-cert, proceeds from ticket sales will be used to acquire musical instruments which ICDFwill arrange for delivery to NEOJIBA in April of 2010, at a Brazilian Classical Series-sponsored concert, with the J2J Youth Orchestra in the Castro Alves Theater in the cityof Salvador, Brazil.

HEITOR VILLA-LOBOS (1887 – 1959)Born on March 5th in the Laranjeiras district of Rio deJaneiro, Villa-Lobos grew up in a musical household. Hisfather, an amateur musician used to regularly host musicsoirees and as initiated his son in musical training. Hisaunt – Zizinha – pianist, introduced little “Tuhú” (thecomposer’s childhood nickname) to what would becomeone of his greatest influences: Johann Sebastian Bach,especifically the preludes and fugues from “The Well-Tempered Clavier”. Whenever she would play one thepreludes or fugues, little Villa-Lobos, wearing his paja-mas, would immediately run from his bedroom to the liv-ing room and listen intently to the music. But there wasstill something missing. With a restless and insatiable

temperament, he sought the “choros” rounds and gatherings in his hometown. Yearslater, his travels all across Brazil brought him in close contact with the diverse folkloreand nature of his land - the “Brazilian soul” - by which his music would be impregnatedindefinetely. Once he stated: “I transcribe in sounds and rhythms this passionate loveaffair for a land”. He composed tirelessly. Approximately 1,000 works, ranging fromsymphonic poems, concerti, symphonies, songs, operas, choral and chamber music,as well as his two famous cycles: “Bachianas Brasileiras” and his monumental“Choros”.During the 1930’s, he implemented a wide encompassing music education project forchildren, out of which the large orpheonic singing concentrations throughout Brazilbecame world renowned. Under his baton, groups as large as 44,000 schoolchildrenwould sing together melodies from the vast repertoire of the Brazilian folk song tradi-tion.Villa-Lobos was also an active conductor having led the major orchestras of the West-ern world, conducting not only his own works, but also the works of other Braziliancomposers.Great soloists, such as pianist Arthur Rubinstein, guitarist Andrés Segóvia and harpistNicanor Zabaleta, had compositions dedicated to them, some of which are consideredhis greatest masterworks. On his death, on November 17th, 1959, he was recognizedas the greatest composer of the Americas.

- By Marcelo Rodolfo from the Villa-Lobos Museum – Rio de Janeiro, Brazil

Photo from the Villa-Lobos MuseumArchives, Rio de Janeiro, Brazil

PROGRAM NOTES

BACHIANAS BRASILEIRAS NO. 4 – PRELUDE – INTRODUCTION (1942)“This time around the goal of the titles and subtitles of this work is inverted in relationto the other Bachianas, since the style of this one is much closer to the atmosphere ofBach. Nonetheless it has some melodic moments which are very Brazilian, in the man-ner of the introductions of the old country’s “modinhas”.” – Villa-Lobos

Composed in 1930 for solo piano, it was premiered by Vieira Brandão in 1939. Theorchestral arrangement done in 1941 was premiered by the composer in 1942. ThePrelude has been described as “grandiouse” and is considered one of the composer’smost recognized and often performed works. – By Fabio Gomes

“MÔMOPRECÓCE” FANTASY FOR PIANO AND ORCHESTRA (1929)

The format: piano and orchestra was one of Villa-Lobos’ favorite media throughouthis lifetime. The composer wrote 9 works for solo piano and orchestra. A Suite, Chorosno. 11, Bachianas no. 3, five piano concerti and one fantasy named Mômoprecóce.

Mômoprecóce belongs to the body of Villa-Lobos’ keyboard works which re-flects the composer’s fascination with childhood scenes and represents the strong in-fluence that the French school of orchestration had in his music. Mômoprecóce is abrilliant and lively score in which the piano has great responsibility and offers unex-pected sounds provided by effective combinations of instruments. This work written in1928 in Paris, was commissioned by the Brazilian, Paris-based pianist Magda Taglia-ferro. The fantasy is a through-composed work based on his previously written suitefor solo piano named “Carnaval das crianças brasileiras” (Brazilian Children’s Carni-val). Comparing the solo piano score with that of the piano and orchestra, it is clearthat the piano part is practically kept the same. The orchestra serves as an accompa-niment for most of the fantasy, and as a transition between scenes.

Villa-Lobos’s fascination with childhood and his intense observation of theBrazilian child’s universe is widely and significantly expressed through a vast numberof solo piano pieces. According to composer Marlos Nobre, “Villa-Lobos has his bestcreative moments of touching ingenuity when inspired by the observation of the child’suniverse. He himself was an eternal child and his life is full of witty stories that confirmhis childlike personality.” In Mômoprecóce, Villa-Lobos frequently evokes the idea ofchildhood joy. The title means: the precocious carnival king. It is a parade of typicalBrazilian carnival characters. Here, Villa-Lobos was able to transform a group of eightsmall solo pieces into a large-scale work for piano and orchestra by using existingmaterials as well as new musical ideas. The orchestra permeates the entire piece, andits continuous character unified the work. Regarding the piano, it presents commoncompositional devices such as the use of ostinato, clusters, black-key versus white-keyrelationships, pentatonic scales, modal passages, and interval interpolations, amongothers techniques, which became trademarks of his piano writing.- By Simone Leitão

BACHIANAS BRASILEIRAS NO. 5 (1938 / 45) – Lyrics by Ruth Corrêa & Manuel Ban-deira

Within the limiting resources and range found in a cello ensemble, this suite was meantto convey the full breadth of different instruments in a full orchestra, which led thecomposer to include the human voice as an additional tone.

The Aria (Cantilena) expresses a sustained, smooth-flowing melodic line, similar to aBrazilian lyrical song. The introduction, consisting of two measures in pizzicato, perfec

tly set the atmosphere of the traditional nighttime guitar singers of the “ponteio”. Whatfollows is a dreamy melody, hovering over a counterpoint pizzicato line in the celli,both together forming a slow cadenced march in the style of Bach.

The next section is faster in tempo and more impassioned in character, resembling theintense singing of the old “modinha” singers of the dance establishments. Here, thelyrics come to life and are emphasized in the different chords and stress marks in themusic, conveying a sonority akin to the sounds of wind instruments. The same dreamymelody from the beginning then returns and ends in the key’s tonic, softly (pianissimo),leaving the listener with a mixture of flavors from Brazil and of Bach.

Tarde uma nuvemRósea, lenta e transparente,Sobre o espaço, sonhadora e bela!Surge o infinito, a lua docemente,Enfeitando a tarde qual meiga donzelaQue seja presta e linda sonhadoramente,Em anseios d´alma para ficar belaGrita ao céu e a terra, à toda a Natureza!

Cala a passarada aos seus tristesQueixumes, e reflete o marToda a sua riquezaSuave a luz da lua desperta agoraA cruel saudade que ri e chora!Tarde uma nuvem Rósea, lenta e transparente, Sobre o espaço, sonhadora e bela!

Lo at midnight, clouds are sowly passing, Rosy and lustrous, over the spacious heaven withloveliness!Laden, from the boundless deep, the moonArises, wondrous, glory, flying the eveningLike a beautiful maiden, now she adornsHerself in half unconscious duty, eager,Anxious that we recognize her beauty, While sky and earth, all nature, salute her!

All the birds have ceased their sad complainingNow appears on the sea in a silver reflectionMoonlight softly waking the soul and constrainingHearts to cruel tears and bitter defection!Lo at midnight, clouds are sowly passing, Rosy and lustrous, over the spacious heaven withloveliness!

Dança (Martelo) – This movement begins with a frenetically persistent rhythm, evokingthe constant hitting of a hammer (“martelo”). After the first four bars, the singer comesin. The words fit the rhythm in a way that reproduces the popular “emboladas” style,originally from the countryside of Brazil’s Northeastern region. The main melody ismade up of cells, themes and sometimes phrases, inspired by the singing of the North-eastern region’s birds. After a succession of such phrases, the cellos play a theme insevenths simultaneously whose contrary rhythm synchs out the strong accents of eachmeasure, giving a fresh and charming, very much Brazilian style. Two measures later,the beginning material is re-introduced to finish the piece. - By Villa-Lobos

Irêrê meu passarinho do sertão do Cariri,Irêrê meu companheiro, cadê vióla?Cadê meu bem? Cadê Maria?Ai, triste sorte a do violeiro cantadô!Ah! Sem a vióla em que cantava o seuAmô! Ah! Seu assobio é a flautaDe Irêrê, que tua flauta do sertão quandoassobia, ah!

A gente sofre sem querê! Ah!

Teu canto chega lá do fundo do sertão,Ah! Como uma brisa amolecendo o Coração, ah, ah!

Irêrê my little nestling from the wilds of Cariri, Irêrê my loved companion, where’s viola?Where goes my dear? Where goes Maria?Ah, sorry is the lot of him who fain would sing! Ah! Without his lute no song of gladness canhe bring. Ah! His whistle shrill must be his flutefor Irêrê, but yours is the flute that once in for-est wilds was sounding, ah!

With its message of grief and woe. Ah!

Your song came from out the dephts of thewilds, ah! Like breeze that comforts the heart,ah, ah!

Irêrê! Solta teu canto! Canta mais!Canta mais! Pra lembrar o Cariri! Ah! (Fim)

Canta, cambaxira! Canta juriti!Canta Irêrê! Canta canta sofrêPatativa! Bem-te-vi! Maria acorda que é dia!Cantem todos vocês,Passarinhos do Sertão!

Bem-te-vi! Eh! Sabiá!Lá! Li’á, liá! (…)Sabiá da mata cantadô!Lá! Li’á, liá! (…)Sabiá da mata sofrendô!

O vosso canto vem do fundo do sertãoComo uma brisa amolecendo o coração.(Repete do topo)

Irêrê! Sing and enchant me! Sing once more!Sing once more! Bring me songs of Cariri!Ah! (End)

Sing my lovely songbird! Sing your song again!Sing my Irêrê! Sing of pain and sorrow!As the birds of morning wake Maria in thedawning! Sing with all your voices!Birds of the woods and wilds! Sing your songs!Ye forest birds!

Lá! Li’á, liá! (…)Ye nestlings of the singing forest wilds.Lá! Li’á, liá! (…)Ye nestlings of the mournful forest wilds!

Oh yours the song that comes from the depthsof the forest wilds.Like breeze that comforts the heart.(Repeat from the top)

FLORESTA DO AMAZONAS (FOREST OF THE AMAZON) SUITE (1959)Composed in 1958, Forest of the Amazon, one of Villa-Lobos’ last works, is one of themost important compositions in all of the Brazilian repertoire. At the end of his life, Villa-Lobos no longer needed to be modernist, traditionalist or even nationalist in his writing tocreate this masterpiece. He was himself: relaxed, creative, romantic, writing along asmelodies came to him, portraying Brazil, his beloved Brazil, by focusing on its most well-known and coveted region – the Amazon. Mastering the difficult art of orchestration, Villa-Lobos calls for a large ensemble and uses it with great clarity, elegance and intelligence,employing the intricate technical resources of orchestration colors and effects in a masterfulway. This is a grand composition, while at the same time simple and direct. A work of atrue genius! – By Roberto Duarte

- Texto of Songs by by Dora Vasconcellos

I. Overture / AberturaII. Dance of the Indians / Dança dos índios III Deep in the Forest / Em plena a florestaIV. Forest Bird – First Song / Pássaro da floresta – primeiro cantoV. Nature's Dance / Dança da NaturezaVI. Forest Bird – Second Song / Pássaro da floresta – segundo cantoVII. Song in the Forest / Canto na FlorestaVIII. Conspiracy and War Dance / Conspiração de dança guerreiraIX. Sails / Veleiros

Velas no marVão deixando passarA tarde anilE outras ondasVem me levar

Sempre existe na mágoaDoce murmúrioDe um triste amor

Sails at seaLet the indigo afternoonPass byAnd other wavesCome to take me

There’s an ever sweet murmurPresent in the bitternessOf a desolate love

Quanta tristezaOndas do marNeste vai e vemSem me levar

Pois sempre eu fizMuita atençãoEm não pisarTeu coração

Longe no céuVai a onda jogarTudo que é meuDentro do marVem me esperar

Lua, lua branquinhaLua crescenteVem devagar

So much sadnessSea wavesCome and goWithout taking me

As it is, I was always carefulNot to step On your heart

Far away from the skyAll that is mineIs thrown by the waveComing to wait for meInside the sea

Moon, little white moonCrescent moonSlowly comes

X. Twilight Song / Cair da Tarde

A garça voouA sombra ficouA noite desceuLevando o brancor

A mata dormiuO vento acabouA folha caiuFazendo rumor ao tocar

O ramo gemeuO ninho vibrouO rio bebeuAs nuvens do céu

O eco passouBem perto daquiAs vozes levouRompendo manhãs ao morrer

The heron flewThe shadow lingeredNight descended Taking away the whiteness

The forest sleptThe wind ceasedThe leave fellMaking a sound upon landing

The twig groanedThe nest throbbedThe river drankThe clouds in the sky

The echo passed byVery near hereThe voices it tookTearing dawns as it died

XI. Forest Birds / Pássaro da floresta – quarto cantoXII. Love Song / Canção de AmorSonhar na tarde azulDo teu amor ausenteSuportar a dor cruelCom esta mágoa crescenteO tempo em mim agravaO meu tormento, amor

Tão longe assim de tiVencida pela dorNa triste solidãoProcuro ainda te encontrarAmor, meu amor

To dream in the blue afternoonOf your absent loveTo endure the anguishing painWith this growing hurtTime worsens the tormentIn me, love

So far from youOvercome by painIn this dreary lonelinessI seek you stillLove, my love

Tão bom é saber calarE deixar-se vencer

Pela realidadeVivo triste a soluçarQuando, quando virás, enfim?

Sinto o ardorDos beijos teus em mimQualquer pequeno sinalE fremente surpresaVem me amargurar

Tão doce aquela horaEm que de amor sonheiInfeliz, a sós, agoraApaixonada fiqueiSentindo aqui frementeO teu reclamo, amor

Tão longe assim de tiAusente ao teu calorMeu pobre coraçãoAnseia sempre a suplicarAmor, meu amor

So good to know how to silenceAnd let oneself be defeated

With realityI live sorrowfully, sobbingWhen, when will you come at last?

I feel the ardorOf your kisses on meAt any small signAnd quivering surpriseComes to sadden me

So sweet that hourDuring which I dreamed of loveUnhappy, now, aloneIn love I fellFeeling the quivering hereOf your claim, love

So far from youAway from your warmthMy poor heart ever longsLove, my love

XIII. Sentimental Melody / Melodia SentimentalAcorda, vem ver a luaQue dorme na noite escuraQue fulge tão bela e brancaDerramando doçuraClara chama silenteArdendo o meu sonhar

As asas da noite que surgemE correm no espaço profundoÓ doce amada despertaVem dar teu calor ao luar

Quisera saber-te minhaNa hora serena e calmaA sombra confia ao ventoO limite da esperaQuando dentro da noiteReclama o teu amor

Acorda vem olhar a luaQue brilha na noite escuraQuerida, és linda e meigaSentir meu amor e sonhar

Awaken, come see the moonThat sleeps in this dark nightThat glows so white and beautifulPouring tendernessBright silent flame,Blazing my dreams

The night’s wings appearAnd run through the depths of spaceO sweet beloved, rise upCome give the moonlight your warmth

Wishing to know you mineIn the serene and calm hourThe shadow gives the windThe limits of waitingWhich claim for your loveInto the night

Awaken, come view the moonThat glows in the dark nightDearest, you’re gorgeous and sweetTo feel my love and dream

XIV. Forest Fire / Fogo na florestaXV. Finale / Epílogo

The BCS invites you to learn more about NEOJIBA and ourpartnering organizations that are fostering the future of clas-sical music in Latin America. BCS supports leading music ed-ucation programs that are modeled after the renownedVenezuelan “Sistema” of youth and children’s orchestras, inBrazil.

By attending tonight’s concert, you have already contributedthrough with your ticket purchase. If you wish to donate moretowards NEOJIBA, please visit www.bankofmusicalinstru-ments.org. Our fundraising campaign ends on March 30, 2010. Help usmeet our goal! All contributions are tax deductible.

The Brazilian Classical Series will perform a concert to markthe delivery occasion of the musical instruments to NEOJIBA,on April 20, 2010 in Salvador, Bahia. The concert features theprogram’s J2J Youth Orchestra at the Castro Alves Theater ledby Ricardo Castro and with Simone Leitão as soloist. This per-formance will be sponsored by VALE. For more details on thisand future concerts, visit www.brazilianclassicalseries.com.

Antonio Adolfo, Antonio Adolfo School of MusicCosette Alves, ICDFLuis Simon Alejandro, ICDFHollie Altman, Arsht CenterPaulo Amado, Deputy Consul, Consulate Generalof Brazil in MiamiCarlos de Araujo, Public RelationsMary Arnaud, Brazilian-American Chamber ofCommerce of FloridaRafael Barbur, União Brasileira de CompositoresMarielle Bernhardt, Hilton Downtown MiamiHellô Campos, PR & MarketingAmbassador Luiz Augusto de Araujo CastroJosi Cavalcanti, Academia Brasileira de MúsicaSilvio Cortez, A+ Printing & DesignRoss Debardelaben, University of MiamiGene de Souza, The Rhythm FoundationRicardo Eichenwald, HEICMarisa Gandelman, CopyganDr. Henrique Gandelman (†), CopyganCesar Augusto Gomes, B2 ConteudoYara Gouveia, Elite Int’t RealtyBrendan Glynn, Florida Grand OperaRachel Magalhães, VALEBeatriz Malnic, Brazilian VoicesEser Meneses, Arte MatrizRose MaxClaudia Heimes, PR & MarketingClaudio Jaffe

The Brazilian Classical Series’ (BCS) mission is to promote Brazil’s sym-

phonic culture and to foster the future of Brazil’s classical music.

Simone LeitãoFounder and Artistic Director

Frederico GouveiaExec. Producer and Assistant Conductor

Consider supporting us! To learn more, visit www.brazilianclassicalseries.com.

SPECIAL THANKS The Brazilian Classical Series wishes to thank the following individuals and compa-nies. Without their instrumental support, commitment and friendship, this eveningwould not have been possible. Thank you!

Miguel Jeronimo, EMBRATURLorenzo Lebrija, Seraphic FirePatrícia LenzaMaestro Eduardo Marturet, The MISOPeter McFarren, ICDFMarianne Mijares, Festival MiamiRev. Agnaldo MotaKathleen Murphy, The MISOJaninha PiazzettaRenata Pinheiro, ObebrechtLaura Quinlan, The Rhythm FoundationThais Reis, Brazilian-American Chamber ofCommerce of FloridaMarcia Ribeiro, Consulate General of Brazil inMiamiAntonio Rhossard, Florida Clean PowerNestor RodriguezMarcelo Rodolfo, Museo Villa-LobosAdriana Sabino, CCBURosane Sprintzin, CCBUFernando Thompson, VALEMia Vassilev, Miami Piano CircleJan Wilson, The League of American OrchestrasEliana Zugaib, Ministério das Relações Exteriores