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Instrumental Works
Fantasia n.2: "Borrões de Tinta" (2020, 24)
for solo Piano
Dense and colorful, it's a quasi-opposition to the shades of gray in the austere "Fantasia n.1". Here, the extended teleology of that first work gives way to the maximum condensation and convergence of multiple overlapping aesthetic reflections - a vain attempt to encompass the entire world. Why fantasize if not to reach the impossible?
Irre-elevação Re-vertida (2024)
for ensemble
Movement does not exist without difference, and "permanence" is only possible through a succession of heterogeneous frames of "being". But if it is only possible to exist through an eternal act of transformation, how can the perception of unity persist and coherence not be dismantled? Is it necessary to be coherent? More than an answer, this work is, among other things, an elaboration of these questions.
2024 Plurisons Ensemble comission (featuring Vertixe Sonora).
Aurora Desvelada (2023)
for chamber ensemble
Aurora Desvelada is the last piece in the instrumental cycle MIRAGENS EM PENUMBRA, which uses a symbolic day as a metaphor for the moments of uncertainty and indecision that we go through in life. The first piece, Miragens em Penumbra (2021), represents an initial state of indecision and uncertainty; the second one, Variável Alvorada (2022), represents the unlimited potential that a new dawn can bring us; the third one, Idílico Eclipsado (2023), represents the peak of chaos after which we begin to glimpse a possible way out of the labyrinth, although still amorphous and untouchable; the last piece, Aurora Desvelada (2023), finally frees our lyrical self from the amorphousness and uncertainty, presenting it with a simple and conclusive sunset before the gentle dusk.
Cycle MIRAGENS EM PENUMBRA, Work n. 4.
Idílico Eclipsado (2023)
for chamber ensemble
The piece is the third one from an instrumental cycle that uses a symbolic day as a metaphore for some of the dark times we have in life. The first piece in the cycle represents a state of indefinition and uncertainty; the second one represents the unlimited potential a new dawn can bring us, as well as clarity as expressed by its clear musical form. This one, Idílico Eclipsado, represents that moment when our exit is already visible, though still uncertain and untouchable, which is expressed by the heavy textures contrasted with the clearer ones - our barely visible way out from chaos.
Cycle MIRAGENS EM PENUMBRA, Work n. 3.
Variável Alvorada (2022)
for trio
Variável Alvorada (2022) is a trio for Flute, Clarinet, and Violin composed is 2022. One of the most important compositional features explored in the piece is the possibility of creating perceptible non-diatonic, microtonal “harmonic fields”. Such an idea is based upon Edmond Costère’s propositions on harmony, which in its turn is raised over the natural resonance of the harmonic series conjugated with syntactical routines contained in the Western Music repertoire. The harmonic fields are composed of low-level “harmonic signs” (in a semiotic sense), which are also able to be heard as independent pieces of information during the musical appreciation. These harmonic fragments are endowed with an internal hierarchy within each harmonic field, which is also based upon Costère’s theory and leads to the possibility of establishing “tension”, “resolution”, “stability”, and “instability” to musical information in a non-triadic, non-diatonic context.
Cycle MIRAGENS EM PENUMBRA, Work n. 2.
Miragens em Penumbra (2021)
for chamber ensemble
Fantasia n.1: "Despertar" (2020)
for solo Piano
"Sonho lúcido ou prévia imagem;
Pré-lembrança ou vã miragem,
Nevoeiro de ferro que esconde o amanhã.
Meia-sombra que autoriza o contorno,
Mas furta a cor do desfecho deste afã.
Por entre a névoa de passagem
Vejo campos de mil folhagens,
E vislumbro o fim desta febre terçã.
Vislumbro o concretamente vindouro?
Fins e começos que dançam, em meu divã.
O nevoeiro cambaleia,
Anuncia a dispersão:
Já é tempo de dançar à minha maneira;
Tingir as sombras da alucinação
E despertar esta alma que devaneia.
Eis que acordo em novas folhagens
E os contornos já são pós-imagens.
Todo hoje é penumbra de um amanhã.
Meias-sombras que dançam em passagem
À ainda ignota lembrança
De um presente de frescas folhagens
Que um dia encarnaram as mais vãs miragens
Desveladas, por fim, na aurora
Do que eu quis chamar de amanhã." - Sep./2021
Cycle MIRAGENS EM PENUMBRA, Work n. 1.
Fantasia n. 1 reveals some of the concerns expressed in the research I was conducting during its composition. Its main field of exploration, so to speak, is the tension between coherence and variety in a musical composition. Through the presentation, proliferation and transformation of a quite short motif, the piece generates all of the contrasting sections as well as its continuity over time. When, departing from the same basic material, the variety axis is predominant, we perceive secession and division; when, otherwise, the musical object keeps more of its original elements than it replaces them, we find continuity. The tension becomes more complex as we overlap musical objects and phrases in asynchronous stages of such a pendulum, and finds its apex through the cumulation of transformations under which the material is subjected. Fantasia n.1 is about how, even after centuries, we keep seeking, within every single new piece, within each compositional decision, to respond to the question of variety and cohesion in a creative, entirely particular way.
Pequeno espelho côncavo sobre o vento (2020)
for solo Flute
With the wind as both its material support and its object of contemplation, Pequeno espelho concavo sobre o vento invites us to observe its own reflection; the consequences of its own formulations reflected in a large self-portrait that folds in on itself. Constructed in a mirrored manner, the evolution of the piece over time at a certain point stops, taking the reverse path, inverting and lengthening its constituent parts, as a re-entrant mirror does with a reflection that it projects. But, as nothing is perfectly linear, a small germ developed in the first part of the piece continues to grow and gradually takes over the mirrored part, replacing and altering this reflection that is no longer immaculate, but transformed and resignified.
Electroacoustic Works
Remêmoro (2024)
8-channel piece
"Remêmoro" is an 8-channel acousmatic piece consisting of a series of miniatures that can be played in any order. The amount of miniatures to be played is choosable as well. While such a formal concept derives mostly from Karlheinz Stockhausen's "Mikrophonie I" structure, based on the author's "moment form", the theme of "remembrance" runs through all the miniatures to create a permanent sense of familiarity and nostalgia.
The version put together here is the one chosen for its premiere in the city of Belo Horizonte (MG), Brazil, during "Festival Plurisons 2024". The concert of the premiere took place in "Sala ECRIS" of Conservatório da UFMG, on July 17th/2024.
intra-homeorrese; Homeostase (2022-23)
8-channel piece
From the Portuguese for “intra-homeorhesis; Homeostasis”, the title of the piece refers to two key concepts in Cybernetics. Both relate to the behavior of a given system regarding its internal equilibrium, where homeostasis denotes a state of constancy and permanence of regulatory processes and constitutive elements despite the environment, whereas homeorhesis names the condition in which such a system finds itself when the environment - or even its own adaptative nature – forces a dramatic transformation of the system components in search of a new form of stability. A dichotomy as such can be conjugated in complex systems where the unity of the whole is granted through the functioning of several, heterogeneous subsystems, which the human body and society are illustrative of.
O engodo do medo (2021)
for Violin and Electronics (stereo)
“Mas, desta vez, o vento me refresca. E, de alguma forma, isso me diz que o tempo marchou. Também notei que cresceu aquela minha coleção de surpresas trazidas por minhas próprias verdades - sim, essas postulações com que ainda justifico e significo a experiência. Com que insisto em tentar me privar de ser surpreendido. Mais uma face de minha colmeia.
Tenho uma teoria de que estou vivo, mas prová-la pode ser particularmente desafiador. Por vezes, é impossível, e disso decorre que não posso estar. Se tanto for verdade, contudo, então eu estou cometendo um grave erro, porque a noite é fresca e meu receio anseia o frio de que me furto por temer o resfriado. Eu ainda faço isso? Porque o céu e esses seus pontilhismos têm por passatempo me seduzir a essas coragens... eu vejo acontecendo. Mas não tenho escolha senão aceitar esse jogo e me despir deste relógio, porque me agrada, a noite. E era de tarde até há pouco. O que terá ocorrido em tão pouco tempo?” - March 11th, 2018.
Antopomêmor (2021)
stereo
“Antopomêmor” is a neologism formed by the Greek radical “topos” and the Latin radicals “ante” and “mêmor”. “Topos” means “place,” and can be used both literally and figuratively, as is the case here; “ante” denotes anteriority; “memory” relates to a range of meanings related to “memory”. Antopomêmor would be, therefore, the memory of a “pre-place”, or a future, a premonition or even a speculative projection about a certain state of affairs. These potential meanings reflect the poetic and structural character of the work, which works as a prologue and initial work in the electroacoustic cycle of pieces dedicated to the immeasurable losses during the COVID-19 pandemic.
Cycle MEMENTO MOVERE, Work n.1.
Distopomêmor (2020-21)
for Violin, Percussion, and Electronics (stereo)
“Distopomêmor” is a neologism derived from the Greek roots “dis” and “topos”, and its Latin “memor”. From the former two derive the vocable “dystopia”, which denotes the worst case scenario of an intellectual domain or state of affairs. “Memor”, in turn, refers to the etymological root of “memory”, denoting a range of meanings such as “the one who remembers”, “the one who is conscious of something” and “to recall/remember”, in its origins.
The year 2020 will definitely be remembered as a historical moment for humanity. The health and economic crises, insecurity, and the human losses, as well as material losses ravaged our lives. Distopomêmor is an artistic impression of the pandemic from the point of view of “someone who will always remember the dystopia” - which brings us back to the title of the piece.
Cycle MEMENTO MOVERE, Work n.3.
Déjà vu (2020)
stereo
“Déjà vu” is an acousmatic, stereo piece, in which images and gestures are built, modified, and transfigured at different levels, returning to the listener as a sort of Déjà vu of previously seen scenes, though never the same or in the same context. Because some elements are often preceded by specific sounds or gestures, an expectation is established when certain sounds emerge from the musical fabric, being sometimes accomplished and sometimes denied. Throughout the work there are “windows” which contain part of musical elements to be developed in an ulterior moment, and which suddenly erupt and vanish, giving the listener a clue of what is to come.
Cycle MEMENTO MOVERE, Work n.2.