Three undesirable feelings

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Three undesirable feelings (2017)


Three undesirable feelings (2017)

Piano Solo

Performed by Abnader Domingues in Ituiutaba, MG

Duration: 7’. 02’’

Three undesirable feelings (2017)

1 – Remorse

Remorse is a distressing emotion experienced by a person who regrets actions which they deem to be shameful, hurtful, or violent. This section is inspired by William-Adolphe Boughereau’s painting “The Remorse of Orestes” (1862)

2 – Repentance

Repentance is the activity of reviewing one’s actions and feeling contrition or regret for past wrongs, which is accompanied by commitment to change for the better. This section is inspired by William-Adolphe Boughereau’s painting “Repentance” (1895)

3- Rue

Bitterly regret (something one has done or allowed to happen) and wish it undone. This section is inspired by William-Adolphe Boughereau’s painting “Le Jour des Morts” (1859)

For score requests, please visit: https://www.dash-music.eu/


Lamentations d'yrmeiah

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Lamentations d’Yrmeyah (2018)


Lamentations d’Yrmeyah (2018)

Female Vocal Trio a cappella

Duration: 3’38’’

Lamentations d’Yrmeyah (2018)

Lamentations d’Yrmeyah was written specially for French female vocal trio “Les Itinérantes”. It was premiered at 3 different locations in August, 2018 in France. This recording was made at Château de Savigny-lès-Beaune.

The piece is very simple, with a sad atmosphere, despite of it alternating moods (major and minor chords). It is sung like a folk song.  The lyrics is extracted from the Book of Jeremiah.

Les Itinérantes are: Manon Cousin, Pauline Langlois de Swarte and Elodie Pont.

כי קול נהי נשמע מציון איך שדדנו בשנו מאד כי־עזבנו ארץ כי השליכו משכנותינו

מי־יתן ראשי מים ועיני מקור דמעה ואבכה יומם ולילה את חללי בת־עמי

מעי מעי אוחילה קירות לבי לבי המה־לי אחריש כי שמעת נפשי קול  שופר תרועת מלחמה

“For a voice of lamentation is heard from Zion: How devastated we are. We are greatly ashamed, for we have abandoned the land; our dwellings have been torn down. Oh that my head were waters, and mine eyes a fountain of tears, that I might weep day and night for the slain of the daughter of my people! My soul, my soul! I am in anguish! Oh, my heart! My heart is pounding in me; I cannot be silent, because you have heard, O my soul, the sound of the trumpet, the alarm of war.”

For score requests, please visit: https://www.dash-music.eu/


Four Impressions on a Portrait of a Female Worker

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Four Impressions on a Portrait of a Female Worker


Four Impressions on a Portrait of a Female Worker (2018)

Clarinet Bb, Guitar and Doublebass.

Duration:  9’.35”

 

I – Sorrow

II – Omen

III – Expectation

IV – Resignation

Four Impressions on a Portrait of a Female Worker from Wyszków by Alter Kacyzne (1927) (2018)

Written and dedicated to Qualea Trio from Goiás, Brazil, Four impressions on a portrait of a female worker from Wyszków by Alter Kacyzne (1927) came just after a first look at Kacyzne’s photograph. The woman portrayed made a deep impression on me and worked as an extramusical object to inspired this sweet and melancholic and somehow harsh composition.

The feelings I’ve expressed in this composition is consistent by the personal history each Jew went through during the WWI and WWII and the Holocaust. Art can be an effective and powerful tool to express poetically the inner misery each individual carries through one existence.

For this reason the thematic material for all sections is very similar and the pieces are deliberately kept short, in suspension or with a feeling of incompleteness or non closure.

Kacyzne was a Jewish  writer, poet and photographer coming  from a very poor family. Born in Vilnius, Lithuania (1885) and died in Temopil, Poland (1941). He was an autodidacte and learned himself to read and write in Russian, Yiddish, Hebrew,Polish, German and French. In 1909, he moved to Ekaterinoslav (Ukraine) where he married Khana and learned photography. He travelled throughout Poland after WWI, chronicling Jewish life. Kacyzne tried to escape Nazi persecution in Poland and moved to Ternopil in 1941. That time the city was already occupied by the Nazis.

He was beaten to death by Ukrainian collaborators during the extermination of the town’s Jewish population. His wife was killed in the concentration camp, while his only daughter Sulamita survived hiding in Poland as a non-Jew. 

Qualea Trio are: Ricardo Freire (Clarinet); Sonia Ray (Doublebass) and Werner Aguiar (Guitar). This work was recorded in Norway in 2018 during Qualea Trio’s Europe tour.

For score requests, please visit: https://www.dash-music.eu/


Solidão (Solitude)

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Solidão (Solitude)


Solidão (Solitude) (1988)

Piano solo

Piano:  Abnáder Domingues

Duration:  2’.11”

“Solidão” (Solitude) is short composition inspired by Brazilian Poet and Writer Manuel Bandeira (1886 – 1968) poetry “A Estrela” (The Star):

Vi uma estrela tão alta,
Vi uma estrela tão fria!
Vi uma estrela luzindo
Na minha vida vazia.

Era uma estrela tão alta!
Era uma estrela tão fria!
Era uma estrela sozinha
Luzindo no fim do dia.

Por que da sua distância
Para a minha companhia
Não baixava aquela estrela?
Por que tão alto luzia?

E ouvi-a na sombra funda
Responder que assim fazia
Para dar uma esperança
Mais triste ao fim do meu dia.

I saw a so high star
I saw a so cold star
I saw a shining star
In my empty life.

It was a so high star
It was a so cold star
It was a lonely star
Shining in the end of the day.

Why that so distant star
Didn’t come down
To make me company?
Why did it shine so high?

And I listen to it in the deep shadow
Answering that it behaved this way
In order to give a sadder hope
To the end of my day.

The star is an obsessive image in the poetry of Bandeira, metaphorizing the absolute, the unattainable, and the light that guides. Since the “The Star” carries a high load of sadness, melancholy and hopelessness, music aims to express these feelings through a simple, sweet and repetitive melodic line, with suspended and inconclusive harmonies…

For score requests and other informations, please contact the composer.


Os Dragões não conhecem o Paraíso (The Dragons don’t know the Paradise)

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Os Dragões não conhecem o Paraíso (The Dragons don’t know the Paradise)


Grupo Deu Palla

Os Dragões não conhecem o Paraíso  (The Dragons don’t know the Paradise) (1994)

Theater play inspired by homonymous book by Caio Fernando Abreu.

Directed by Kalluh Araújo and performed by Grupo Deu Palla – Belo Horizonte

Voice: Conceição Nicolau

N.B. The hiss sound on the background is due to the original soundtrack recorded in reel tape.

“Os Dragões não conhecem o paraíso” is a collection of several short texts by Caio Fernando Abreu (1948-1996), a sort of autobiography full of love and rage…

“I have a dragon that lives with me.

No, this is not true.

I don’t have any dragon. And, even if I had, he wouldn’t live with me or with anybody else. To the dragons, there is nothing more inconceivable than sharing his space – it doesn’t matter if with other dragon, or with someone banal like me. Even with unusual people, as I imagine other people are. They are lonely, the dragons. They are almost as lonely as I am now, alone in this apartment, after your departure. I say almost because, during that time while he was with me, I fed the illusion that my isolation was done forever. I say illusion because, other day, in one of these arid mornings of his presence, fortunately less frequent each time (the aridness no, the absence), I thought like that: The men need the illusion of love in the same manner they need the illusion of God. They need the illusion of love to do not be sunk in the terrible well of the complete loneliness; they need the illusion of God, to do not lose themselves in the chaos of the nonsense disorder. (…)

I’m confusing and scattering myself. (…)

So, be sweet. I repeat every morning, when I open the windows to allow the sun come in or even the gray of the day, exactly in this way: be sweet. When it’s sunny, and the sun comes directly to my sleepy face from the sleep or from the insomnia, looking on the small particles of dusty flying in the air, as a small universe, I repeat seven times to give me luck: be sweet be sweet be sweet and so on. However, if someone asked me what should be sweet, maybe I don’t know the answer. Everything is so vague as it was nothing.” (…)

Dos besos*
Dos besos tengo en el alma
que no se apartan de mi;
(bis)
el primero de mi mare
ᴉniña de mi corazón!
el primero de mi mare
y el último que de ti…
Dos besos tengo en el alma
Que no se apartan de mi;

………….
Two kisses I have in my soul
that are inseparable from me

The first one is from my mother
the child from my heart!
The first one is from my mother
and the last one is from you
Two kisses I have in my soul
that are inseparable from me

*Dos besos is a very popular lyrics in the style of ‘petenera’ from Andalucia (Spain) from XIX century.

For score requests and other informations, please contact the composer.


Visiones Fugaces en color sepia

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Visiones Fugaces en color sepia


Visiones Fugaces en color sepia (2012)

For Viola and Doublebass

Duration: 11’.25”

Comissioned and premiered by Dúo Altbass – Barcelona (Viola: Mónica Cruzata; Doublebass: Luís Cojal). The wonderful performance displayed here was made by Jing Shao (Viola) and Luis Fonseca (Doublebass) recorded live at Salamanca Conservatory – Spain, in 2013.

“Visiones Fugaces en color sepia” brings old memories in form of music. It works like a soundtrack for vintage movie, expressionist, simplistic and poetically. The works is divided into four movements, each one inspiring for a specific image:

1 – La Vieja Dolora en la calle vacía


2 – De repente un organito sona tan patético


3 – Allí viene el pequeño circo de las illusiones


4 – De la ventana de un automóbil en movimiento


For score requests and other informations, please contact the composer.


Pequena Esther brinca lá fora... (Little Esther plays outside...)

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Pequena Esther brinca lá fora... (Little Esther plays outside...)


Pequena Esther brinca lá fora… (Little Esther plays outside…)(2008)

Solo Piano

Premiered and recorded by Carla Reis for her university extension program project “Piano.Pérolas: desvendando o repertório didático brasileiro” (Pearls of piano music: unveiling the Brazilian didactic repertoire) taking place at Music Department – Federal University of São João del Rei.

Duration: 1’

For this project I’ve composed a dozen of piano pieces intended for beginners to intermediate students. It was my first approach to create didactic pieces for children and teenagers trying to get out the commonplace, looking for beauty and poetry instead of focusing only on technical demands. Each piece is based on infant-related images or on my own childhood memories. The piece’s aesthetical nature have been attracting older students as well.

“Pequena Esther brinca lá fora…” brings out my jewish memories. In this short piece the tone and melodic colors of jewish folk music are discretely yet consistently present.

For score requests and other informations, please contact the composer.


O que?! (What?!)

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O que?! (What?!)


O que?! (What?!) (1990)

Short fiction film by Bruno “Mitih” Viana

Original Soundtrack by Antonio Celso Ribeiro

Actor: Lucio Miranda

“O Que?!” has an expressionist aesthetical appeal, filmed in ‘black and white’ with a vintage touch. The film also inserts in the trend of “Z-movies” which arose in the mid-1960s as an informal description of certain unequivocally non-A films, characterizing low-budget pictures with quality standards well below those of most B movies and even so-called C movies. The soundtrack employs some ‘special effects’ as sudden changes of tempo to simulate the precariousness of the old projection machines’ mechanisms.

Plot: An ordinary guy decides to leave the routine and live free of the rules of society. But was it just a dream?

For score requests and other informations, please contact the composer.


Morte (Death)

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Morte (Death)


Morte (Death) (1991)

Short fiction film directed by Bruno “Mitih” Viana.

Original soundtrack by Antonio Celso Ribeiro

Actress: Kênia Rocha

“Morte” has an expressionist aesthetical appeal, filmed in ‘black and white’ with a vintage touch. The film also inserts in the trend of “Z-movies” which arose in the mid-1960s as an informal description of certain unequivocally non-A films, characterizing low-budget pictures with quality standards well below those of most B movies and even so-called C movies.

Plot: “Between the definitely living and the definitely dead passes this eternal instant that is death. The existential question arises when, if not answered, it is swallowed up: Is death the key to existence?”

For score requests and other informations, please contact the composer.


Two Mechanical Birds and a Melancholic Cage

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Two Mechanical Birds and a Melancholic Cage


Two Mechanical Birds and a Melancholic Cage (2008)

fl, pic, ob, cl, mandolin, gtr, p-no, vln, vla, vlc, db,perc

Duration: 8’.34”

I – the mechanical hawk

II – the mechanical crow

III – the melancholic cage

Written for and premiered by Nieuw Ensemble from Amsterdam, conducted by Celso Antunes. This piece was awarded at 1st BAM-Dialogue – Amsterdam, 2009. The work was created bearing in mind the traditional Chinese mechanical birds. Rather than being a programmatic piece of music, Two Mechanical Birds and a Melancholic Cage brings to the listener the feelings provoked by those charming automata, suggesting the movements of gears, chirpings and a kind of poetic strangeness. To the composer, each one of the sections brings a feeling of hopelessness and solitude.

For score requests and other informations, please contact the composer.