Canto dos Aroe, Roberto Victorio
Violino: Mariana Salles
Obra para violino solo onde o instrumento (e o instrumentista) se transformam em veículos de contato para o desenrolar ritual do “canto das almas”, onde o violinista é solicitado ao extremo, no que se refere a utilização de ambientes estendidos, exploração de tessituras voláteis extremas, trânsito em atmosferas desperceptivas pela simbiose de notações, recitância de cantos rituais Bororo e invocações sagradas da etnia relacionadas ao Kare Paru (canto da pesca).
play!, Diana Rotaru
Flauta: Danilo Mezzadri
Piano: Alexandre Zamith
There are several possible interpretations of the title of this work: “to play” means to use an instrument to make music, to take part in a game or to act on a stage or in a film. So there is an imperative request addressed to the performers to “make music”, to create an atmosphere, but also a suggestion of the playful dialogue between the two instruments and of the quasi-theatrical component of the work: the harpsichord player also uses a percussion instrument – a Tam-Tam – that transports the performers as well as the audience into a magic, dreamlike, out-of-time reality. The piece is “framed” by a “lullaby”, a “gate” in and out this new reality where the two instruments imitate, influence, chase one another in a cartoon-like manner or participate in a stravinskyan, barbaric dance. The music material tries to be as organic as possible, although there are fractures in the expression of the piece: there is basically only one mode based on minor thirds and a series of rhythmical values based on the Fibonacci series of numbers (a projection into the universal, archetypal world). The “lullaby” is actually the generative structure of the work, being based on a series of musical segments that are transformed and permuted; the repetitive nature of the “frames” helps creating the dreamlike atmosphere.
Hush, Tonia Ko
Cello: Elise Pittenger
Piano: Fernando Rocha
Hush, written for the adventurous duo New Morse Code, maps the concept of speech and song onto the instrumental combination of percussion and cello. Taking excerpts from Virginia Woolf's short story "The String Quartet," the performers convey the busy-ness of speech and conversation contrasted with the simplicity of song. The metaphor lends itself to extended roles for both performers-- unpitched (un-singing) percussion renders spoken words, while the cantabile cello sound dovetails into vocal singing. The middle movement reminds listeners of the worth in silences, which emerge when we care to hush.
Linha d'água, Sílvio Ferraz
Clarone: Batista Jr.
Eletrônica: Gabriel Araújo
Népanthènes, Daniel Bonilla
Guitarra: Rémy Reber
At the beginning of this project, I was thinking of composing a mixed work, combining the sound of the electric guitar with field recording sounds, transformed and processed with computer tools. As the writing process progressed, I found it more stimulating from a compositional point of view to create sound materials only within the constraints imposed by the use of a few effect pedals. In Népenthès, the sound of the electric guitar is treated exclusively through these tangible, imperfect and limited objects.
The sound color of some effect pedals, evoke for me the sound of the kind of popular music that I enormously appreciate and that has always nourished my musical imagination: the psychedelic rock of the sixties and in particular the hypnotic music of the German group Neu! and the poetic play of guitarist Bill Frisell. In a way, my piece is a return to my musical roots,
anchored in the practice of my instrument: the guitar.
As for the title, Népenthès was, among the ancient Greeks, a drink or magical drug that dispelled sorrow and spleen; a kind of remedy against sadness. So I wanted to create a piece impregnated with incantatory, even hypnotic melancholy. Nostalgia being closely linked to memories, it
embodies here the form of a sound loop triggered by the performer, which appears repeatedly, like a thought, a memory, unforgettable and omnipresent in the unfolding of the work.
artimanha, Gabriel Araújo
Harpa: Alice Belugou
Oboé: Olivier Stankiewicz
Eletrônica: Gabriel Araújo
I - unpulse
II - no meu passo
III - a dobra
"Sou a dobra de mim sobre mim mesmo
Nesse afã de ganhar de quem me ganha
Tento andar no meu passo e vou a esmo
Tento pegar meu pulso e ele me apanha
Eita, sombra rival que me acompanha
Artimanha de encosto malfazejo"
- Contenda, Guinga e Thiago Amud
Percussion Mist, Cristina Dignart
Percussão: Fernando Rocha
Eletrônica: Cristina Dignart
A alusão ao movimento de névoas foram o mote para a criação de Percussion Mist. Morfologias em transformação se contrapõem com gestos percussivos gerando diversas ambiências sonoras baseadas em transformações de nuvens. Texturas mais sólidas se dissolvem em sons percussivos num ambiente que varia da saturação de eventos ao espaço etéreo.