Flowers (2017)

Soundtracks for video and theater plays


Flowers [2017]


Flowers (2017)

Janete Junqueira – Voice

Gustavo Chritaro – Guitar

Jean Gualberto – Doublebass

Duration: 7’

Flowers [2017]

This video is collaboration with Portuguese Visual Artist and Poet Leonor Alvim Brazão. The video is a statement of hope, beauty and poetry. The music is scored for Female Voice, Guitar and Doublebass and has a very deep sefaradi color, full of joy and with a positive attitude towards life and nature.


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

Soundtracks for video and theater plays


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.


O que?! (What?!)

Soundtracks for video and theater plays


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)

Soundtracks for video and theater plays


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.


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

Soundtracks for video and theater plays


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

Soundtracks for video and theater plays


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.


Diálogo no Pântano (Dialogue in the marsh)

Soundtracks for video and theater plays


Diálogo no Pântano (Dialogue in the marsh)


Diálogo no Pântano (Dialogue in the marsh) (1997)

Original soundtrack for the theater play by Marguerite Yourcenar.

Directed by Marco Antonio Machado – Belo Horizonte, MG.

Music by Antonio Celso Ribeiro

Voice: Conceição Nicolau & Sandro Assunção

“Dialogue in the marsh” is an adaptation Belgian novelist Marguerite Yourcenar’s book “Le dialogue dans le marécage” from 1930. The story was inspired by four verses by Dante Alighieri which alludes to Lady Pia Tolomei, a noble woman from Siena who was locked up by her jealous husband, Sire Laurent, in a dirt castle surrounded by a marsh and abandoned to her fate 12 years ago.

Sire Laurent, now old and repentant, sells his possessions giving everything to the poor and escorted by a monk, decides to end his days in a Monastery. On his way to Santiago de Compostela, he seeks the marshy castle where he imprisoned his wife and whose exact location he does not even remember… He will find his wife, but he can’t remember her face. He doubts if she is real or a ghost…

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


Curupira – O Espetáculo Antropológico

Soundtracks for video and theater plays


Curupira – O Espetáculo Antropológico


Curupira – O Espetáculo Antropológico (1995)
Text by Saulo Sabino
Performed by Tropa Mineira Teatro e Dança Belo Horizonte
Directed by Geraldo Vidigal (in memorian)
Voice: Rita Bertin
Piano: Wagner Sander
Bass: Fernando Souza
Drums: Eduardo Campos
Live recording at Escola de Música da UFMG – Belo Horizonte
Sound engineer: Dudu Martins (in memorian)

This Dance – Theater play tries to recount the Discovery of Brazil (XVI Century), from the point of view of the native Indians and the African slaves, and the domination of European settlers including their abomination of local traditions and folklore. “Curupira” is a mythological creature of Brazilian Folklore. This creature has red, fiery hair, and resembles a man or a dwarf, but its feet are turned backwards to create footprints that lead to its starting point, thus making hunters and travelers confused. Scored for female voice, electric bass, drums, piano and synths.

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


Crepusculum (Tasogare)

Soundtracks for video and theater plays


Crepusculum (Tasogare)


Crepusculum (Tasogare) (1995)
Theater play by Marcos Vinicius inspired by Japanese Noh Theater.

Directed by Jô Tostes and performed by Cia Anjos de Vidro – Belo Horizonte

Crepusculum (Japanese: たそがれ [dusk, twilight]) is a theater play inspired by Medieval Japanese Theater Noh. The plot is about a couple that meets in a hotel room somewhere and being strangers and intimate at the same time, they discuss their relationship.

The soundtrack is also deeply inspired on Japanese aesthetics. The song here named “Hotaru” (Japanese for “firefly”) is extracted of an ancient Noh play that tells a story about a firefly flying over a bridge in Udi River and falling in love with a man who was there every evening contemplating the moon…

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


Carta ao Pai (Letter to his Father)

Soundtracks for video and theater plays


Carta ao Pai (Letter to his Father)


Fragment of handwritten letter by Kafka

Carta ao Pai (Letter to his Father) (1992)
Theater play inspired in the homonymous book by Franz Kafka. Directed by Ione de Medeiros and performed by Cia Absurda de Teatro – Paulo Lisboa and Fernando Lima.

Original soundtrack by Antonio Celso Ribeiro

Voice by Kátia Beatriz de Oliveira and Fanuel Maciel Lima Jr. (in memorian)

“Carta ao Pai” (Letter to his Father) is the name usually given to the letter Franz Kafka (1983 – 1924) wrote to his father Hermann in November 1919, indicting him for his emotionally abusive and hypocritical behavior towards him.

Kafka hoped the letter would bridge the growing gap between him and his father, though in the letter he provides a sharp criticism of both:

“Dearest Father,
You asked me recently why I maintain that I am afraid of you. As usual, I was unable to think of any answer to your question, partly for the very reason that I am afraid of you, and partly because an explanation of the grounds for this fear would mean going into far more details than I could even approximately keep in mind while talking. And if I now try to give you an answer in writing, it will still be very incomplete…”

According to Max Brod, Kafka actually gave the letter to his mother to hand on to his father. His mother never delivered the letter but returned it to her son. The original letter, 45 pages long, was typewritten by Kafka and corrected by hand. Two and a half additional pages were written by hand.

The soundtrack was reviewed by Portuguese music critic Fernando Midiões during Cia Absurda tour in Portugal and Spain in the 90. Midiões wrote: “The music for ‘Letter to his Father’ is powerful, strong, well orchestrated and supported the tension and acting throughout the performance”. The hiss sound on the background is due to the original soundtrack recorded in reel tape.

Paulo Lisboa

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