(b 12 April 1760; d 1 March 1797). Venezuelan composer, violinist, organist, pianist, educator and church musician. On 11 May 1789 he married Sebastiana Velásquez, sister of the composer José Francisco Velásquez. He composed mainly for Caracas Cathedral, in 1791 receiving 184 pesos for a collection of his sacred music; he was also employed by church confraternities. In October 1793, 1794 and 1796 he was in charge of the choral music for Caracas’s feast of Naval; in 1797 his son Juan Bautista held this post.
Sacred, all by 1791: 2 masses, 4vv, orch, 3vv, insts; Rogation Mass, 2vv, bn; Mass of the Dead – Response, 3vv, insts; Lessons of the Dead: 2 for 4vv, insts, 1 for S, 2 vn; Lamentations for Good Friday, T, orch; Miserere; Popule meus, motet; Quia educite, motet; Venite adoremus, 4vv, orch; Stabat mater, 4vv, orch; Invitatory, 3vv, insts; Villancico para la Virgen, 4vv, 8 insts; 3 villancicos to the Blessed Sacrament, 4vv, 8 insts; 8 Christmas villancicos, 3 solo vv, vn, hn
Sacred, all undated: 6 motets, 2vv: Gloria laus, In Monte Oliveti, Deus meus, Respice in me, Doleo super te, Alleluia; Salve, 3vv, orch; Vespers of Our Lady of Mercy; Vespers Psalms; Magnificat, ?spurious; Stabat mater, ?spurious
J.A.Calcaño: La ciudad y su música (Caracas, 1958/R)
C.F.Duarte: ‘Los Olivares en la cultura de Venezuela’, Revista musical de Venezuela, no.19 (1986), 173–9
SHARON E. GIRARD
Oliveira, Fernando Correia de
(b Oporto, 2 Nov 1921). Portuguese composer and theorist. He studied at the Oporto Conservatory with Cláudio Carneiro (composition) and Maria Adelaide Freitas Gonçalves (piano). In 1948 he studied in Venice with Hermann Scherchen. In the same year he formulated the principles of a composition system called ‘sound symmetry’ which includes ‘symmetrical harmony’ and ‘symmetrical counterpoint’. This system, where chords are constructed from equal intervals above and below a central pitch, is the basis for his compositions. He also created a method of music teaching. He founded the Parnaso Academy for music, dance and theatre in Oporto.
Stage: O cábula [The Truant] (children’s op, 1, F.C. Oliveira), 1956; O planeta (op, 1, Oliveira), 1986
Orch: Lugar do feitiço, va, orch, 1949; Discurso de Platão, vc, small orch, 1951; Trovadores, str, 1952; Metamorfoses, bn, str, 1962; Suite, str, 1994; Suite juvenil, 1996
Pf: O príncipe do cavalo branco, 1951, orchd 1954; 50 peças para os 5 dedos, 1952; Variações, 1953; 20 peças em contraponto simétrico, 1957; 7 estudos, 1958; Nocturnos, pf 4 hands, 1976; 3 valsas de além túmulo, 1979; Sonata, 2 pf, 1990
Choral: 3 cantigas de amigo (D. Dinis), female chorus, 1950; Pater noster e Ave Maria, chorus, 1950; Pai nosso, male chorus, 1982; Saudação a S.S. o Papa João Paulo II (Oliveira), male chorus, 1991
Solo vocal: 3 sonetos metafíscos (A. de Quental), Bar, pf, 1950; O ratinho RA–TU–DI, 1v/children’s chorus, pf, perc, 1952; 3 sonetos líricos (de Quental), Bar, pf, 1957; Cantigas de Santa Maria (Alfonso X), S, rec, hpd, 1970; Cantares de triste amor, S, A, T, Bar, B, 1971; Cuidados e danos de amor, Bar, rec/t viol, hpd, 1972; Redondilhas (L. de Camões), Bar, pf, 1972; 3 poemas de Fernando Pessoa, Bar, pf, 1980; Canções sem palavras, 1v, pf, 1981; 12 poemas (L. de Camões, Pessoa, de Quental), S, chbr orch, 1993; Bailia, 1v, rec, 1995
Principal publisher: Parnaso (Oporto)
Harmonia simétrica (V.N. Gaia, 1950)
‘A simetria sonora’, Arte musical, xxix/July (1964)
Simetria sonora/Sound Symmetry (Oporto, 1969, 2/1990)
Música minha (Oporto, 1993)
JOSÉ CARLOS PICOTO/ADRIANA LATINO
(b Saúde, Bahia, 21 March 1944). Brazilian composer and teacher. He studied the flute, the viola and the tuba, and theory and composition with Ernst Widmer at the Federal University of Bahia, taking a composition diploma in 1969. In the USA he studied composition with Shapero, Shifrin and Arthur Berger at Brandeis University (MFA 1979), and with Korte, Grantham and Pinkston at the University of Texas at Austin (DMA 1986). He is a founder-member of the Grupo de Compositores da Bahia (1966). Returning to the university in Bahia, he became an assistant instructor (1966–77), then an adjunct professor from 1983 until his retirement in 1994, after which he continued as the coordinator of graduate studies in music and a graduate instructor in theory, composition and computer applications in music. Throughout the 1970s and 80s Oliveira was active in national music organizations, serving as president of ANPPOM (National Association of Research and Graduate Study in Music) and as a founding member of the Sociedade Brasileira de Música Contemporânea, among others. He became a life member of the Academia Brasileira de Música (1994), and has received several fellowships and prizes.
Oliveira has purposely avoided subscribing to any compositional dogma. He began by adhering to some aspects of musical nationalism in a highly dissonant style, then cultivated an unorthodox 12-note technique incorporating aleatory and other methods. His output, numbering 39 works over the period 1963–96, reveals a skilful, serious and highly concentrated creative individual. His research into computer applications in music theory and composition won him the post of senior researcher at the National Council for Scientific and Technological Development. As well as Informática em música: o parâmetro altura (Salvador, 1995), he has written many articles on subjects ranging from Stravinsky to computer music in publications and journals including the Latin American Music Review.
Orch: Ponteio, str, 1963; O sertão, 1964; Grocerto, 1967; Preambulu, 1968; Tonal-a-tonal, 1969; Pseudópodes, 1971; Delta, 1971; Pseudopódes II, 1985
Vocal: Nu, nar, chorus, b drum, 1966; 4 poemas opus nada, 1v, pf, 1968; Conjunto IV, chorus, bottles, 1969; 3 canções tristes, 1v, str qt, 1970; Sanctus, 10vv, chorus, 10 metronomes, 1971; IRR-3, nar, 1v, handclaps, 1990