Utopia selvagem[3'37]
Ciça de todos os caminhos [5'29]
Aquele que ficou sozinho [5'30]
A fome de Lázaro [7'40]
Out of Urop [12'31]
Vox Victimæ [20'18]
Utopia
selvagem [3'37]
|
 |
Click
here
for listening to the very beginning [0'33, 544 K]
Ciça de todos os caminhos [5'29]
Original soundtrack for a video by Marcus Vilar. Guest artists: Arimatéia Formiga, José Medeiros & Costa Filho, saxes; Chiquinho Mino, acoustic drums and moringa.
Click here for listening to an excerpt [1'04, 528 K]
 |
Aquele que ficou sozinho [5'30] |
Click here for listening to an excerpt [0'31, 272 Kb]
A fome de Lázaro [7'40]
Havia um homem rico que se vestia de púrpura e linho finíssimo, e que todos os dias se banqueteava e se regalava. Havia também um mendigo, por nome Lázaro, todo coberto de chagas, que estava deitado à porta do rico. Ele avidamente desejava matar a fome com as migalhas que caíam da mesa do rico..." [Lucas 16:19 a 21].
Original soundtrack for a video by Torquato Joël. Samples of a traditionnal Fife Band.
Click here for listening to an excerpt [0'38, 320 Kb]
 |
"
A subtle mestizo music where European features appear not only in the melodic-rhythmic
motives assigned to the wind instruments, but also in the overall formal
patterns. Baroque forms, 'passacaglia' and 'moto perpetuo' , are revisited.
At the same time, an idealized Africa remains constantly alive in the background,
by means of repeated asymmetrical rhythmical structures and defective scales
played by the percussion (mainly marimba) " [D.G.].
Original for
flute, oboe, clarinet, bass clarinet, horn, bassoon, piano, marimba, timpani
& percussions; the version on this CD is played with sampled instruments,
with a participation of Chiquinho Mino, percussion.
Part 1 [4'52] Part 2 [3'11] Part 3 [4'28] |
VOX VICTIMÆ
" As a whole, this piece refers to the determinist pessimism which goes through all the work of Augusto dos Anjos. <Vox Victimæ> [the Voice of Victims] is the title of one of his poems, a quote of which is used in another track of the CD, Aquele que ficou sozinho. The way I worked with obscured or defocused pianistic timbres, the handling of time and periodicity of events, the ineluctable determinism of interpolation as a time process, main structuring and sonic features of this work, transfer to the musical domain my own reading of the poet's obsessions " [D.G.].
<Vox Victimæ> has two parts, respectively named <Profile to A> [7'44] and <Profiles to B> [12'34]. As stand-alone pieces, they are (have been) played in several international events, such as the International Computer Music Conference 97, Thessaloniki (Greece), the Festival Elektrokomplex, Vienna, and the CEAIT 2000 Festival, California Institue of Arts. <Vox Victimæ> is also included in the 1998 CD issue of Organized Sound.
|
|
|
