Miosotis

Solos


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.


Ma fin est mon commencement

Solos


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.


Broken Bagpipes

Solos


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.


Breves Consolações de Nossa Senhora dos Aflitos

Solos


Breves Consolações de Nossa Senhora dos Aflitos


Breves Consolações de Nossa Senhora dos Aflitos (2009)

Piece commissioned for VIII National Piano Contest Cora Pavan Capparelli – Uberlândia, MG – Brazil – 2009, premiered and recorded by Abnáder Domingues.

Duration: 3’.08”

This composition deals with the Chapel of the Afflicted,  also known as Chapel of Our Lady of the Afflicted, which is located on a small street in Liberdade Neighborhood (São Paulo),  where there is one of the few still existing alleys in today’s São Paulo city, named Beco dos Aflitos (Alley of the Afflicted). The chapel was inaugurated in 1775 along with an open-air cemetery.

When it was customary for burial to take place inside the churches, this open-air cemetery was reserved only for the burial of indigents, slaves who did not belong to the Brotherhood of the Rosary and those condemned to death on the gallows. According to the tradition, the condemned spent the night before their execution inside the chapel, praying to Our Lady of the Afflicted to absolve them of their sins, giving them a good death and saving their souls.

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


"Ba-al zebhubh"

Solos


"Ba-al zebhubh"


“Ba-al zebhubh” (2003)

For Solo Violin

European première, Athens, Greece, November 30, 2016 by Tania Sikelianou

Duration: 5’.51’’

“Ba-al zebhubh” brings to the memory ancient images from Middle East, regarding the cult of which became the usual designation of the great weather-god of the Western Semites. Also related to the God of thunderstorms, fertility and agriculture, and the lord of Heaven.

From Ba‘al Zəbûb is variously understood to mean “lord of flies”, or “lord of the (heavenly) dwelling”. Originally the name of a Philistine god, Ba’al, meaning “Lord” in Ugaritic, was used in conjunction with a descriptive name of a specific god. Jewish scholars have interpreted the title of “Lord of Flies” as the Hebrew way of calling Ba’al a pile of dung, and comparing Ba’al followers to flies. The composition tries to recreate the buzzing of the flies in the first ‘Cantvs”, and the power of a thunderstorm in the second, through the metaphor of the ‘noise’ effect (thunder?), the pizzicati (rain drops?) and the extreme high melody (lightings?).

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


Amoris Divini et Humana Antipathia

Solos


Amoris Divini et Humana Antipathia


Amoris Divini et Humana Antipathia (2008)

Piano solo

Performed and recorded by Ernesto Hartmann, Vitória, ES, May, 2017

Duration: 11’.03”

The title of the suite refers to a work by the Flemish writer Ludovicus van Veuven, who lived in Holland in the sec. XVII. He speaks in four simultaneous languages ​​on the 73 kinds of love devoted to the Divine [soul] and to human nature [passions]:

1. Natura amoris (love of nature)

2. L’amour divin (divine love)

3. L’amour humain (human love)

4. Sanatio amoris (healing love)

5. Babylon amoris (love of Babylon [carnal love])

6. Hierusalem amoris (love of Jerusalem [spiritual love])

7. Et humani antipathia (human antipathy)

“Antipathy” here is posited, as in its Greek origin “antipathia” where anti = against and pathéia = affection – then I understand “human antipathy” only as something “carnal, erotic, gross, and wild” without attachment or emotional feeling. Musically, I tried to translate an apathetic, insensitive and insistent state in the melody of the right hand, where the drawing gradually accelerates until it reaches a “climax” and empties quickly. The ‘chacona’ – block of chords that are repeated extensively in the left hand, also allude to indifference, insensitivity, sameness ….

1. Natura amoris


2. l’amour divin


3. l’amour humain


4. sanatio amoris


5. babylon amoris


6. hierusalem amoris


7. et humana antipathia


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


Ah! Sei lá mamãe...

Solos


Ah! Sei lá mamãe...


Ah! Sei lá mamãe… (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.

“Ah! Sei lá, Mamãe!” (Oh! Beats me Mom!) brings me back to children universe dealing with their parents reprimands. It portrays the slovenliness and innocence of every little child who does not conform to the ‘maternal interrogation’, when doing something wrong…

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


“A White Peacock in an Imaginary Garden”

Solos


“A White Peacock in an Imaginary Garden”


“A White Peacock in an Imaginary Garden” (2012)
Guzheng Solo (Chinese Zither)

Duration: 7’.04’’

“A White Peacock in an Imaginary Garden…” is deeply inspired by the beautiful symbolism of the peacock in ancient cultures and religions. The peacock is a symbol for death, resurrection and eternal life, as well as awakening, spirituality, purity and light.

Early belief held that the Gates of Paradise are guarded by a pair of peacocks. By the other hand, the bird also represents luxury and the trappings of greed, vanity and pride. The two sides of the peacock’s symbolism is musically portrayed in this composition, where the fast arpeggios, bendings, harmonics and other forms of embellishments create a rich imagery filled with elegance, turmoil, sweetness and harshness…

Composition by Antonio Celso Ribeiro dedicated to and performed by Ms. Jiuan-Reng Yeh. Taipei, Taiwan, August, 2012

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


A Fanfarra do Rei (The King’s Fanfare)

Solos


A Fanfarra do Rei (The King’s Fanfare)


A Fanfarra do Rei (The King’s Fanfare) (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: 1’10’’

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.

“A Fanfarra do Rei” brings out some French baroque mood, specifically paying homage to the style of Italian/French composer Jean Baptiste Lully (1632-1687), Louis XV (“Le Roi Soleil”)’s protégé. The composition alludes to a “fanfare played by tin soldiers, in the fertile imagination of a rogue king kid. The King’s fanfare, despite of it extreme simplicity carries a strong sense of royalty.

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


11 Paineis de Palavras Soltas

Solos


11 Paineis de Palavras Soltas


11 Paineis de Palavras Soltas (2012)
Solo Piano

Premiered and recorded by Wagner Sander Delmondes – Belo Horizonte, 2012
Duration: 20’.13”

11 canvas for “Palavras Soltas”(roughly translated as ‘loose words’) is a multimedia work by Portuguese polymath artist Leonor Alvim and Brazilian composer Antonio Celso Ribeiro blending together, images, poetry and music. The canvases (“Fabric-collage”) are made from fabric: Leonor selects the fabrics according to its texture, color and ability to reflect light. The color of a composition is chosen for its light where an image will be constructed from it. Leonor names it “timbre of light” and can portrait a theme that can be symbolic or only representative of an ordinary theme.

Or abstractly a new interpretation of another theme, for example, in poetry. The raw material for the musical composition was made through an extensive elaboration of the main colors used in each canvas and their correspondent musical notes (pitches) according to scholars in the Middle Ages. The composition feeling was obtained through the image (pareidolia) or symbolic meaning of each canvas:

1 – Taj Mahal – Sentimento (Taj Mahal – Sentiment)


Colors/Pitches:
blue: G – G# – C – D#; deep blue: A#; dark blue: F# – A; violet: E – B; bluey green: C#; golden green: F – E; yellow: G; purple: D.

Impressions:
Sadness, funeral, vaults, marble, arabesques (ornaments), past, tradition, someone playing a sitar from far away.

2 – Mar 2 - Sem Palavras (Sea 2 - Wordless/Without Words)


Colors/Pitches:
black: B; yellow: E; greenish yellow: F – C; whitish yellow: A#; golden green: E; olive green: D#; bluey green: F#; aquamarine: F – D; orange red: C# – D – A#; crimson: G# – C#; purple: D – A – G# – B; deep blue: A#; blue: G – C- G# – D#; bright blue: F#; sea blue: A; indigo: A – B – G# – E.

Impressions:
It portrays the bottom of the sea with fish, stingrays and jellyfish. The composition evokes a kind of ballet of jellyfish and other animals, resulting in a simple, melodious song with some affectation, with rhythmic patterns suggesting the impulse that the jellyfish do for swimming.

3 – E a minha pele é a Terra! (And my skin is the Earth!)


Colors/Pitches:
brown: A#; black: B; dark red: F – C; scarlat: C#; crimson: G# – C#; olive green: D#; brigh blue: F#; orange: D – F – F# – B – A – D#; yellow orange: D# – F.

Impressions:
Beginning of something, steps, season, feeling, affirmation, denial, end of something.

4 – Douro 1 (River Douro 1)


Colors/Pitches:
brown: A#; orange red: C# – A# – D; red: C# – B – G; crimson: G# – C#; scarlat: C#; orange: D – F# – F; yellow: E – G – D – B; orange yellow: F – D#; whitish yellow: A#; green: F# – C#; olive green: D#.

Impressions:
The mood of this piece translates an idea of ‘end of cycle’, “expressive like a sunset” – calm, passage, end of a step, end of a day … sweetness. It’s delicate and full of resonances.

5 – Douro 2  (River Douro 2)


Colors/Pitches:
brown: A#; black: B; crimson: G# – C#; yellow orange: D# – F; orange: D – F – F# – B – A – D#; olive green: D#; bright blue: F#.

Impressions:
This piece brings some Mozarabic elements and the melancholy of the song of the boatmen on their rabelos (a type of boat used on the river Douro for transporting wine).

6 – Ocaso (Sunset)


Colors/Pitches:
brown: A#; golden brown: G; orange: D – D#; pinky orange: F – F#; red: G – G# – B; ; metallic grey: D#; bluey grey: D#; violet: A – A# – F – B; carmine: C.

Impressions:
Sunset, end of the day, calm, meditation.

7 – Luz & Sombra [preto e vermelho] (Light & Shadow [black and red])


Colors/Pitches:
blue: G; bright blue: F#; red: C – E – A; black: B; beige: F# – D.

Impressions:
Boat seen in the distance; calm; melancholy; quick reflexes in the water, now calm, sometimes violent; bells of buoys; day starting; day ending.

8 – Mar 1 - Golfinhos vestidos de azul (Sea 1 - Little Dolphins  covered in blue)


Colors/Pitches:
greenish blue: F# – G; azul: C – G; aquamarine: D; carmine: C; violet: B – A; purple: D – A; indigo: E.

Impressions:
Two innocent dolphins playing in the sea.

9 – Garoa (Drizzle)


Colors/Pitches:
green: F – F# – B – A; bluey green: G – D; olive green: D#; greenish blue: G#; metallic grey: A#; greenish yellow: C.

Impressions:
Mystery, sounds in the distance, longing, suspension, expectations …

10 – Torno à velha casa donde parti (I’m back to the old house once I left)


Colors/Pitches:
blue: F# – D – G – G#; green: F – C#; red: G#; orange: D#; black: B; violet: A#.

Impressions:
Serenity, maturity, time in motion, memories, past, haughtiness …

11 – Amanhecer (Dawn)


Colors/Pitches:
deep blue: A# – D#; turquoise: G; bright blue: F# – C#; violet: F; cyclamen/magenta: D – F# – G; lilac: D – A – G#; pink: G – C.

Impressions:
Dawn; ritual; procession; gods; worship.

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