|program - notes|
|Popular Mechanics (1998)||
My first composition using the freeware synthesis software "CSound" from MIT (www.csounds.com) based in the traditional MUSIC family.
Using concret sounds being transformed (metals, iron) grasped, by phase vocoder and granular synhesis (also the voice) - long notes are rendered using aditive synthesis algorithms. The poetical form is based in the comics of Mr. Moebius "The hermetic garage" and could be done live with brazilian percussion essemble and soprano.
The Popular Mechanics was premiered in SESC Vila Mariana theater in March 98.
Technicki is my personal approach to the legendary cyberpunk anthology "Mirrorshades" by Bruce Sterling and William Gibson, what catch my attention was the weird names : Sinner, MiniMono, so instead of making musical analogies with the stories themselves, I just wondering about the names and their meaning.
They are 16 little parts - here you'll find 3 of them : all the parts must be heard VEEERRY LOUD !!!
It was presented for the first time in Winter Festival of Campos do Jordão em São Paulo, July 93 - with electronics, live electronics, 2 saxophones (alto and tenor) by Livio Tragtenberg, and a violent performer hanging high at 20 meters in a rope (João Andreazzi).
|The Tree (after Walter Smetak) - (1997)||
Walter Smetak was a swiss who lives for long time in Bahia, Brazil and was a designer and builder of new musical instruments. During all his life he build something like 150 very complexes instruments using mainly primitive brazilian folk materials as cabasas, bamboos, cocoa.
Since his death in 84 his instruments need repairs and in 97 SESC organization invite me to organize a group of "luthiers" for to repair the 20 most important of his instruments, as the work goes I had the opportunity to make some music with them.
The tree is an instrument composed of 42 different strings fixed in a perpendicular tube and in strong wood base. At the end of the tube there are a big cabasa. The instrument has around 65 cm high, and is very beautiful in design and in the quality of sound it produces.
I use the original record sessions I did (mainly in late of the night) in SESC, more material processed by GranuLab software and some CSound filters bank and sound edition.
|Dedalu's Suite (1999)||
Deadalu's Suíte was composed as the oppening music for the theater play "Daedalus" for the Group Ueinzz. It's an experimental piece performed all by mental disease pacients - our actors.
The music was rendere in CSound using Amplitude Modulation (AM) , Frequency Modulation (FM) and additive syntesis. At the final there are electronic birds (ressynthesis by lpc).
The main idea is to produce a calm and reflective ambience where the silence play a central role. The frequencies and harmonic content are used in limit ranges, so I could hurt you. Take care !!
Squizophonia is temporal discourse and musical myth and primordial. Using the concept of "broken time" where superpositions, unexpected meetings, crashs, are the main elements of the aesthetic. It's the time of the mad men, prophets and the saints.
Build as blocks playing at random, the composition has 482 different blocks for the instruments. Each instrument is looking like a solist. It's for sextet : trombone, trumpete, trompa, clarinet, violin and cello.
Live recorded at Centro Cultural São Paulo - Camera Group of the São Paulo Symphony Orchestra in August of 2001.
|Recuerdo ( Industrial Samba) (1993)||
Originally composed for a performance in a TV show - an ironic presentation of me playing toy piano and Livio Tragtenberg playing a toy Midi saxophone. It's an approach of the brazilian samba universe with all the its clichets.
A little deconstruction in the form due to modern times of chaos, confusion, strength, rightness.
|Dos Mendigos (1994)||
Incidental Music for the dance performance "The Mood of the Fashion" by Suzana Yamahuchi. A fashion show in that the "models" are the beggar. The text in French and portuguese was concieved by the actor Paulo Goya.
The musical part are played by acoustic and electronic instruments in a rythmical serie that ressambles sometimes a brazilian folk rythm called baião, sometimes industrial. The melodical patterns are hard and shapped. The irony of the complex interpretation create tension zones that crosses all the piece.
|E1S (Energy of a Dream) - 2003||
Little excert from the music in the installations "Energy of a Dream" realized by Jose Wagner Garcia, in the 50th. Birthday of the brazilian oil company Petrobrás. It was made for 12 syncronized DVD players and music projection in 8 speakers.
Composed for string orchestra and harp, uses the concept of "spectral harmony" where the base is the harmonic serie representing the Nature itself.
Recorde live at Rio de Janeiro with the Petrobrás Pro Music Orchestra. Conductor : Carlos Prazeres.
Excert of the music for the short experimental film "Caligrama" by Eliane Caffé. It was composed for a huge different kind of multiple percussion instrument, forming "clusters" of timbres, density clouds coming to an unique moment of affirmation.
Recorded at São Paulo in April 94. All percussion instruments are played by Wilson Sukorski.
|Olhos de Vampa (1993)||
Music for the final credits of the movie "Olhos de Vampa" directed by Walter Rogério. The story is the unusual percuss of a vampire (coming from the dirty and the trash. Living in Largo da Batata (Potato's Place) in São Paulo. Instead of bite the girls in the neck as usual, our poor vampire bite girls (very beautiful brazilians girls) in the ass.
Electronic mixing of 16 female voices (by Monica Salmazo) over a improvisation theme "in the mood" of gipsies and bulgarian. More one my instruments "Fish", a bass voice and urban sounds.