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Program Notes

Toronubá, op. 16
Toronubá is a work written in homage to the warriors of Indian’s tribes who inhabited Brazil before European invasion in 1500. It is an A B C form. The first musical idea (a bass leading) is presented in section A. Section B features a contemplative Requiem that is indeed a Chaconne. The final section C blends the musical ideas presented in sections A and B, leading the piece to a monumental ending. The piece is constructed with frantic, irregular and piercing rhythm patterns. Aesthetically it blends rhythmic characteristics of Brazilian music with some stylistic and aesthetic features of the Minimalism. The artistic result is a work endowed with great rhythmic vitality in which both the primitive and the modern are equally felt.

Pattapiana, op. 17
This piece pays homage to Pattápio Silva (1881-1907), one of the Brazil's first flute virtuosos. Pattapiana is like the female counterpart of Toronubá, they are like brother and sister or husband and wife. Both embody the ideal beauty of male and female, and both have the same musical structure based on a tripartite form (ABC), where the musical elements of the first two sections are fused through thematic synthesis in the third section.

Toccata Amazônica, op. 14
O título se justifica por duas razões:
a) Toccata pelo fato da obra se articular através de pulsos rítmicos motórios que são propulsores do discurso musical.
b) Amazônica pelo fato da obra ser algo exuberante em vitalidade e inventividade rítmica, orquestração e impacto artístico.

Minimalizei-te, Baiãozinho!
Minimalizei-te, Baiãozinho! for string orchestra recreates the “baião”, a characteristic dance of Brazilian northeast. The piece blends the rhythmic characteristics of the well know Brazilian “baião” in mixture with some stylistic and aesthetics features of the Minimalism. The artistic result is a work in which both the regional roots of “baião”, and the cosmopolitan elements of Minimalism, are equally present.

Brasil 2000, op. 12
Brasil 2000 was written as homage to the 500 years of discovery of Brazil, and it expresses the exuberant aspect of Brazilian culture. Cascades of vital energy flows and it has an alluring enthusiasm. This is the first work of Brazil 2000 Series, a set of works that blends elements of Brazilian music with some stylistic and aesthetic features of Minimalism.

Papaji, op. 11
Papaji blends two elements: rich rhythmic invention and beautiful melodic lines. Through the interaction of these two contrasting elements the piece unfolds, creating waves of happiness and ever-new joy.

Tema, Variações e Final, op. 10
Tema, Variações e Final develops seven variations upon an original theme. In the last variation the theme is metamorphosed in a famous Brazilian song, "Luar do Sertão" (by Catullo da Paixão [1866-1946]). After this last variation the work concludes with a brilliant finale.

Bagatela, op. 8
Bagatela is a simple musical emanation in ABA form. The music is cheer, delicate and pleasant, reflecting through musical resonance the eternal rhythms of life.

Glinc, op. 7
Glinc for clarinet and piano is the spirit of hilarity. It is a virtuoso work and should be played with gaiety and vigor at once! The piece is easier to play with clarinet in A.

Abertura e Toccata, op. 6
Abertura e Toccata won the first prize and was premiered at I Competition of Londrina Music Festival (Brazil, 1995). Since then several Brazilian orchestras have performed the work that has been received with great enthusiasm.

Kalan, op. 5
Kalan is like a sun that emanates infinite energy and creates a rainbow with a myriad of colors.

Flot, op. 4
Flot is like a cosmic spiral.

Toccata Fantástica, op. 1
Toccata Fantástica is a piece based on bitonality, two tonal triads or two different chords (polychord) are combined during most of the piece. Through the use of the pedal tonal materials are transformed into complex sonorities. The dialog between extreme registers, which unfolds, complements the harmonies to create the peculiar atmosphere of the piece.

Pan
Pan is a metaphorical allusion to the Greek demigod of forests, pastures and flocks, half-human and half goat. This metaphorical allusion is embodied in instrumentation and musical material. The flute and piccolo represent the upper part of this being (human) while the strings represent his lower part (goat). The percussion (piano, xylophone, triangle and tam-tam) acts as a link between these two worlds that come in interaction throughout the piece.

Bis
Bis was written to be performed as encore. The piece is funny, in a jazzy style. The violin part is challenging and requires from the player precise technique and a light sense of humor.