Olhar singelo d’uma criança que suplica

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Olhar singelo d’uma criança que suplica


Olhar singelo d’uma criança que suplica (2012)

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:  1’49’’

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.

“Olhar singelo d’uma criança que suplica” (tender expression of a begging little boy) portrays an innocent boy begging for something to someone. The composition alludes to the sweet gesture of the boy, so fragile and so cute trying to fulfill his needing. The musical material makes strong references to Jewish musical scales.

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


Two baroque sadness y uma vals ‘desvairada’ para él

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Two baroque sadness y uma vals ‘desvairada’ para él


Two baroque sadness y uma vals ‘desvairada’ para él (2006)

Alto Recorder and Piano

Dedicated to and premiered by Projeto DuoBrasil – Betiza Landim (Alto Recorder) and Daniela Carrijo (Piano) at Teatro Rondon Pacheco, Uberlândia, August, 27th, 2006.

Duration: 9’.22”

This composition takes part in the CD “Projeto DuoBrasil: música erudita brasileira para flauta doce e piano”. Scored in three movements: I – Entrée; II – Passacaglia; III – una vals ‘desvairada’ para él. “Entrée” deals with a poetic melancholie, contemplative and respectful. The slow movement and the Recorder’s ornamentations allude to a handelian baroque atmosphere. “Passacaglia” is a cyclical danse, the piano playing an endless looping (ostinato) in unisono with the Recorder. The ‘vals’ is a “presto delirante” virtuosi movement, with large leaps on the piano part and rapid melodic patterns for the Recorder.

Projeto DuoBrasil is an important project for revival and nurturing of contemporary compositions for Recorder and Piano by Brazilian composers. My long partnership with Betiza Landim and Daniela Carrijo gave birth to some very representative works for Recorder and Piano, since Projeto DuoBrasil  has commissioning me works for each one of the Recorder family and Piano. I’ve written “two baroque sadness…” for Alto Recorder and Piano, “Tre Arcani Antiche” for Soprano Recorder and Piano, “Four Red Leaves” for Bass Recorder and Piano. On the list there are two more pieces: one for Sopranino Recorder and Piano and the other for Tenor Recorder and Piano.

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


Miosotis

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Miosotis


Miosotis (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:  1’20’’

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.

Miosotis, a.k.a Forget-me-not, are small and very delicate white, rose or blue flowers, spreading around the Northern Hemisphere. Since the Germans coined the most common name used for this flower, it’s natural that there’s a myth of two lovers walking along the Danube River first seeing the bright blue blossoms.

The man retrieved the flowers for the woman, but he was swept away by the river and told her not to forget him as he floated away, making the Forget Me Not a lasting symbol of remembrance. That’s the main purpose of “Miosotis”: the image of its delicate petals and sweet colors is transformed in a simple but beautiful melody and soft harmonies, making alive the good memories and feelings of childhood.

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


João e o Pé de Feijão (Jack and the beanstalk)

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João e o Pé de Feijão (Jack and the beanstalk)


João e o Pé de Feijão (Jack and the beanstalk) (1996)

Theater play inspired by homonymous book by Grimm Brothers.

Directed by Ricardo Nortier – Belo Horizonte

Voices: Zé Melo Jr., Glaucia Wandeveld, Heloisa Martins, Ricardo Nortier

Music by Antonio Celso Ribeiro

Jack and his widowed mother are a poor family with nothing to their name but the family cow. When the last of their money finally runs out Jack’s mother sends him into town to sell their cow at the local village. On the way, however, Jack meets a mysterious stranger who offers him five magic beans in exchange for the cow. Jack accepts the offer and brings the beans home to his mother. Needless to say she is furious and throws the beans out the window. Overnight the beans grow into a massive beanstalk that stretches onwards up into the clouds. Jack decides to climb the beanstalk and when he reaches the top finds a massive castle. He sneaks into the castle to find that it is the home to a Giant, who says:

Fee-fi-fo-fum!
I smell the blood of an Englishman.
Be he ‘live, or be he dead,
I’ll grind his bones to make my bread.

Jack is about to run but he sees a bag of the giant’s gold, which he quickly nicks before fleeing back down the beanstalk. The next day Jack, remembering all the other treasures up the top of the beanstalk, decides to give it another crack. He climbs back up and into the giant’s castle. Once again the Giant’s nose gives him the tip-off that there is a human around, but the Giant’s wife hides Jack in the oven until her husband falls asleep. Jack sneaks out, but on his way grabs the goose that lays the golden eggs and takes it with him. On the third day Jack decides to head up the beanstalk again.

His mother pleads with him not to go, but Jack chooses to give it one more time. When he reaches the castle the Giant pulls out a little golden harp that plays music by itself. The soft music lulls the Giant to sleep, then Jack sneaks out and snatches the Harp. But the Harp doesn’t like the idea of being stolen and cries out to the Giant, waking him up. The Giant chases Jack down the beanstalk, but Jack reaches the bottom first, grabs an ax and chops down the beanstalk, killing the giant.

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


A tribute to Sandy Hook Victims - Love wins

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A tribute to Sandy Hook Victims - Love wins


A tribute to Sandy Hook Victims – Love wins (2015)

Collaborative Project: Visual Art, Music and Poetry Art.

Poetry and Video – Leonor Alvim Brazão

Music – Antonio Celso Ribeiro

Voice: Frederico Cavalcante

“Love Wins” Project is inspired by the sad massacre at Sandy Hook Elementary School in Newtown, Connecticut on December 14, 2012. This tragedy provoked by Adam Lanza, 20 children and six adults, as well as the shooter’s own mother, succumbed innocently. Adam committed suicide next, but he left the pain to those who had losses and a warning so we need to rethink our existence, our values and mission. Thus, we put art as a messenger of peace, remembering what we want to forget, forgetting what we do not want to remember.

“And if longuing have a color, it should not be painted black. It should have a warm color, a savor coming from my heart. In this heart I bear the weight of parting, open wings dare to open. It should have a warm color, a savor coming from my heart. Open wings dare to open. Me without you an emptiness without end… I ask why but there’s no answer for me. I fly high without direction without sensing I seek out love that love I shall attain (but there is no answer for me). Love conquers, love heals, traced out for you. Love comes, love goes, bring it al-ways closer.” (Leonor Alvim Brazão)

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


Trinidad Lunar

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Trinidad Lunar


Trinidad Lunar (2012)

Mezzosoprano & Piano

Duration: 8’.12”

Based on the eponymous work of Isidro Iturat , Catalan poet based in São Paulo. The musical composition is based on the three poems that form the trilogy, each one referring to a phase of the moon. In Iturat’s words, the moon is one of the most universal images that the human unconscious used to represent the eternal feminine and each of the lunar phases reveals one of the fundamental archetypes.

Thus, the waning moon is a virgin woman, who has not yet awakened to love; the crescent moon, the woman who has already incorporated the erotic and loving experience; the full moon, the mother. Mezzo: Poliana Alves; Piano: Fabio Santos. Live recording  made during the XX Abrão Calil National Piano Contest in Ituiutaba, MG – September, 2013 – when Antonio Celso Ribeiro was the central composer at this competition.

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


Ma fin est mon commencement

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Ma fin est mon commencement


Ma fin est mon commencement (2011)

Piano solo

Premiered and recorded by Abnáder Domingues

Duration: 3’.12”

“Ma fin est mon commencement” is inspired by homonymous piece by Guillaume de Machaut (Reims, France, ca. 1300 – 1377). The original Machaut’s composition is a conventional rondeau with its ABaAabAB structure, but my composition only gets the essence of its poetry, the idea of a never ending circularity: ‘ma fin est mon commencement et mon commencement ma fin’ (My end is my beginning and my beginning is my end). This feeling links directly to the image of an “ouroboros”. The ouroboros(Greek: οροβόρος) is an ancient symbol depicting a serpent or a dragon eating its own tail. Originating in Ancient Egyptian iconography, the ouroboros entered western tradition via Greek magical tradition and was adopted as a symbol in Gnosticism, Hermeticism and in alchemy.

Via medieval alchemical tradition, the symbol entered Renaissance, often taken to symbolize introspection, the eternal return or cyclicality, especially in the sense of something constantly re-creating itself. The musical accompaniment in my composition works as a ‘passacaglia’ – a ‘perpetuum mobile’, whereas the main theme repeats itself, but expanding or contracting itself in each repetition.

Engraving by Lucas Jennis, in the 1625 alchemical tract De Lapide Philosophico

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


Three Haikus

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Three Haikus


Three Haikus

Soprano, Alto, Tenor & Bass recorders.

Premiere: Quadriventus. Live performance at SESC Instrumental – Uberlândia, MG – June, 09th – 2011

Duration: 6’

Three short pieces inspired by Japanese Haikus.

I – “A crow has settled on a bare branch” 
II – “A red dragonfly flies over a pond”
III – “Autumn evening”

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


Broken Bagpipes

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Broken Bagpipes


Broken Bagpipes (2003)

Violoncello Solo

Premiered by Alvim Wong – Bangkok, July, 2013

Duration: 7’.11’’

The Bagpipes – a very old instrument, frequently associate to Irish and Scottish people – having been used by emperors and nobility and even by the imperial Roman army. With a significant position in both the religious and political worlds in the Middle Ages, the wardrobe accounts of Edward II of England for the year 1307 document payment to ‘Janino Chevretter’ (John the Bagpiper), showing the involvement of bagpipers in the social life and their connection to the royalty. Exploring the literary contexts in which bagpipes were mentioned, help us understand the symbolic significance of it in literature and visual arts. Some scholars state the use of the bagpipe motif is intended to serve an artistic function – to symbolize two vices in particular – “gluttony and lustfulness”. Considering the ‘Aristotelian tradition’ that considers taste and touch as ‘irrational’ animalistic senses that lead to gluttony and lust, we can see how scholars

interpreted the allegory of taste and touch in arts to be serving a moral objective. “Broken Bagpipe” depicts only ‘half’ of this allegory, ‘the temptation to sensual indulgence’, in order to give the audience the opportunity to experience being tempted and be aware of those consequences of that temptation – the excessive pursuit of pleasure.

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


"The Good Dreams of a Poor Horse Keeper"

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"The Good Dreams of a Poor Horse Keeper"


“The Good Dreams of a Poor Horse Keeper” (2016).

For Alto Nay (Traditional Uzbeq Flute), Chang (hammered Dulcimer), Violin, Viola, Violoncello, Double Bass and Percussion. Commissioned and premiered by Omnibus Ensemble from Tashkent, Uzbequistan, conducted by Artyom Kim.

Duration: 10’

The work is directly inspired by a ceramic plate from Seljuq period dated December 1210 and signed by Sayyid Shams al-Din al-Hasani. The plate represents a figure sleeping by a pool, accompanied by a horse and five other personages. The pool in the exergue shows a nude female figure surrounded by swimming fish. The scene clearly portraits a waiting groom with his master’s horse (richly caparisoned), with five attendants.

The groom falls asleep and dreams with a mytical figure (the naked female figure). Most scholars state that the fish, water, woman and horse all relate to Sufi mystical  metaphors. For my composition, I’ve assigned each instrument to a personage: The alto Nay is associated to the mystical woman in the pond; the Chang is associated to the asleep groom; the Strings are associated to the five servants; the Vibraphone is associated to the fish and water; and the remaining Percussion is associated to the horse.

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