Belmont University School of Music
THURSDAY, OCTOBER 30, 2025
7:30 P.M.
MCAFEE CONCERT HALL
Belmont University School of Music
PianoConcert Series
Rosângela Sebba, piano
Sonata in C major, K. 159
Domenico Scarletti
Sonata in E major, K. 380 (1685-1757)
The Well-Tempered Klavier, Book I
Johann Sebastian Bach
Prelude and Fugue No. 16 in G minor, BWV 861 (1685-1750)
Prelude and Fugue No. 21 in B-flat major, BWV 866
Sonata No. 6 in F major, Op. 10, No. 2
Ludwig van Beethoven
I. Allegro (1770-1827)
II. Allegretto
III. Presto
Suite No. 3
10-minute Intermission
Ronaldo Miranda
I. Allegro (b. 1948)
II. Allegretto
III. Lento
IV. Allegro gracioso
Ochos Valses Poéticos
Enrique Joaquín Granados
1. Preludio Vivace molto (1867-1916)
2. Tempo de Valse noble
3. Tempo de Valse lente
4. Allegro umoristico
5. Allegretto
6. Quasi ad libitum
7. Vivo
8. Presto Andante Tempo de Valse
Danzas Argentinas, Op. No 2
Alberto Ginastera
1. Danza del viejo boyero (1916-1983)
2. Danza de la moza donosa
3. Danza del gaúcho matrero
A
Musical Journey
This recital celebrates the evolution of keyboard music, exploring its diverse forms and voices through history. Beginning in the Baroque era with the intricate melodies and harmonies crafted for the harpsichord and organ, we traverse the rich textures and expressive tones of the fortepiano as it paved the way for the modern piano. Each instrument offers a unique reflection of its time, showcasing the ingenuity of composers and the technical possibilities that shaped their masterpieces. From timeless classics to modern interpretations, this program celebrates the keyboard’s transformative journey an emblem of creativity and cultural significance across centuries.
Program Notes
Sonata in C Major, K. 159 and Sonata in E Major, K. 380 Scarlatti’s keyboard sonatas are miniatures in binary form often composed for the Spanish court where he served Queen Maria Barbara. K. 159 bursts with rhythmic vitality and Spanish flair, while K. 380, nicknamed “Cortège,” evokes a procession with lyrical ornamentation and regal poise. Both works were written for the harpsichord and are examples of Scarlatti’s bold harmony and virtuosic idioms, including hand crossings and rapid repeated notes, which were revolutionary in the early 18th century.
Well-Tempered Klavier, Book I: Prelude and Fugue No. 16 in G Minor, BWV 861 & Prelude and Fugue No. 21 in B-flat Major, BWV 866 Bach’s Well-Tempered Klavier is a cornerstone of keyboard literature, consisting of two sets of preludes and fugues in all twelve major and minor keys; twenty-four in total. The term clavier refers to various keyboard instruments, including organ, spinet, clavichord, harpsichord, and the newly invented fortepiano. Well-tempered alludes to the emerging system of twelve-tone tuning, which allowed for compositions in all keys without unpleasant dissonance.
The Prelude in G Minor is introspective and dramatic, built on ornamental trills and marked by frequent modulations particularly upward by a fourth and the expressive use of the Neapolitan chord. The Fugue, composed in four voices, takes its name from the Latin fuga, meaning “to flee” or “escape.” Here, the subject is restated in the dominant key, with intervallic adjustments to fit the new tonal context.
In contrast, the B-flat Major pair presents a brighter, more virtuosic character. The Prelude offers a freely improvisatory atmosphere, while the three-voice Fugue, adheres to a more academic structure, featuring a clear exposition, episodic development, and a final recapitulation.
Sonata No. 6 in F Major, Op. 10 No. 2 Beethoven’s thirty-two sonatas are commonly divided into three periods: early, middle, and late. This sonata, composed during the early period, begins to reveal the composer’s distinctive voice, although it still reflects Classical traditions.
The first movement is witty and rhythmically playful, marked by surprising modulations and a recapitulation that intriguingly begins in D major. The second movement, set in the parallel minor, offers a contrasting mood, touched with melancholy and introspection. The final movement is a whirlwind of energy, featuring fugal exchanges between the hands and bold harmonic shifts. Throughout, Beethoven’s humor and inventiveness are unmistakably present.
Suite No. 3 A leading figure in contemporary Brazilian music, Miranda blends classical forms with Brazilian rhythms and harmony. This work traverses a wide emotional landscape: from the rhythmic drive of the opening Allegro to the introspective Lento, and finally to the graceful charm of the closing movement. The suite reflects Miranda’s refined pianistic language and his deep connection to Brazilian musical identity.
Ochos Valses Poéticos Granados’s Valses Poéticos are a romantic homage to the waltz, infused with lyricism and charm, and firmly rooted in Spanish nationalism. Although he composed primarily for the piano, some virtuosic passages are not as comfortable as others. Each waltz is composed in two or three sections and employs both major and parallel minor keys, creating contrast and highlighting Granados’s keen melodic sensibility. Every miniature captures a distinct mood; from the noble elegance of No. 2 to the whimsical humor of No. 4, and the dreamy sentiment of No. 6. The final waltz unfolds in a dramatic arch form, culminating in a nostalgic return to the opening theme. These pieces are beloved for their melodic warmth and expressive nuance.
Danzas Argentinas, Op. 2 Written while Ginastera was still a student, these dances are bold and evocative portraits of Argentine life. The first dance features bitonality, with each hand in a different key left hand on the black keys, right hand on the white creating a rustic and quirky soundscape.
The second movement, Danza de la moza donosa (Dance of the Graceful Girl), is lyrical and expansive, conjuring the vast pampas through open harmonies. Notably, it ends on a non-tonic chord, leaving a sense of ambiguity rather than resolution.
The final dance is a tour de force: fast, percussive, and rhythmically ferocious, it captures the spirit of the rebellious gaucho/cowboy. Dissonant chords evoke the crack of a whip and the wild gallop of horses, culminating in thunderous ascending and descending glissandi marked ffff. These works stand as the beginning of Ginastera’s lifelong journey in shaping a musical identity rooted in Argentine culture.
Program Notes by Dr. Rosângela Yazbec Sebba, piano
About the Performer
Dr. Rosângela Yazbec Sebba is Professor of Piano at Mississippi State University, where she coordinates the piano area and the Community Music School. She spearheaded the university’s designation as an All-Steinway School a 12-year initiative completed in 2024 and teaches applied piano, piano literature, and music theory. Her college and pre-college students have earned numerous honors for their performances and presentations in regional, national, and international competitions and conferences.
A sought-after clinician and adjudicator, Dr. Sebba presents workshops and lecture-recitals on repertoire and pedagogy across the United States and abroad. Her performance career encompasses solo, chamber music, one piano four-hands, and two pianos four-hands repertoire. In 2010, she released Eight Sonatinas and the Sonata for Piano Solo by M. Camargo Guarnieri; the first and only recording of these works, which has been featured on David Dubal’s programs The Piano Matters (WWFM) and Reflections from the Keyboard (WQXR), as well as his lecture at the Cervantes Institute.
Committed to contemporary music, she released Millennia Musicae in 2017 on the Centaur label, featuring works by Stravinsky, Bill Douglas, and world premieres by Mississippian composer Shandy Phillips. She serves as principal pianist of the Starkville/MSU Symphony Orchestra and has performed as soloist with orchestras in Brazil and the United States, presenting works by Mozart, Beethoven, Saint-Saëns, and Camargo Guarnieri.
Dr. Sebba is an editor for American Music Teacher Magazine, the Frances Clark Center for Keyboard Pedagogy, and College Music Society Symposium. In 2024, she was selected to perform the opening recital for the Conference on Brazilian Music at the Paris-Sorbonne, organized by IReMus (Institut de Recherche en Musicologie) and GRMB (Groupe de Recherche de Musique Brésilienne).
An accomplished chamber musician, she has collaborated with renowned artists in recitals and masterclasses and has presented lectures and performances throughout the Americas, Europe, and Asia. Her conference engagements include the College Music Society, International Villa Lobos Conference, London International Piano Symposium, LIII Música en Compostela, International Double Reed Society, and the National Association of College Wind and Percussion Instructors.
Dr. Sebba is actively involved in music teacher organizations. She currently serves as Secretary of the Golden Triangle Music Forum, District Audition Chair, and Vice President for Pre-College Evaluations for the Mississippi Music Teachers Association. Her professional affiliations include the Music Teachers National Association, College Music Society, CARAVELAS Núcleo de Estudos da História da Música Luso-Brasileira, National Federation of Music Clubs, World Piano Teachers Association, and the National Association of College Wind and Percussion Instructors.
She is listed on the Mississippi Arts Commission Artist Roster and was named a Fellow in 2015. In 2013, she was recognized as a Steinway Artist; in 2022 and 2023, she received the Steinway Teacher of the Year Award. In 2023, she was inducted into the Steinway & Sons Teachers Hall of Fame as part of its fifth induction class. That same year, she received the Mississippi Music Teachers Association Outstanding Teacher Award. In 2024, she was nominated to represent Mississippi for the 2025 Music Teachers National Association Teacher of the Year Award and named a Mississippi State John Grisham Master Teacher.
Upcoming Concerts and Events
Belmont Opera Scenes: Opera Through the Ages
Monday, November 3, 7:30 p.m.
Massey Concert Hall
Guitar Ensemble
Thursday, November 6, 7:30 p.m.
McAfee Concert Hall
PHNX
Friday, November 7, 7:30 p.m.
Massey Concert Hall
Musical Theatre
The Addams Family
Friday, November 7, 7:30 p.m.
Saturday, November 8, 2:00 p.m. and 7:30 p.m.
Sunday, November 9, 7:30 p.m.
Troutt Theater
This is a ticketed event, Students may purchase tickets at the Belmont Box Office
Jazz String Septet
Sunday, November 9. 6:30 p.m.
Massey Concert Hall
Percussion Ensemble & World Percussion
Monday, November 10, 7:30 p.m.
McAfee Concert Hall
First Year Musical Theatre Showcase
Saturday, November 15, 6:00 p.m.. Troutt Theater
Vocal Collective
Saturday, November 15, 6:00 p.m.
Massey Concert Hall
For more information on upcoming concerts and events, please visit www.belmont.edu/cmpa or “like” Belmont University School of Music on Facebook.
