piste@span_199003657-1
The main idea of this work is the development of interactions, juxtapositions and derivations of concrete and synthetic material. Initially concrete, the piece begins slowly and is permeated gradually by synthetic sounds, constructed from spectral analyses and re-syntheses of previously recorded material. Gradually, the two types of sounds mix, culminating in a long section of distended sounds. This section contains the highest point of the fusion process, since it arises from the predominantly synthetic treatment of the material, which is applied to large musical gestures. Theses gestures are produced from massive sums of concrete sounds. The name of the work was inspired by the linguistic universe created by João Guimarães Rosa, and alludes to the valleys and mountains where the concrete sounds were recorded.
[source: reseauxconcerts.com]
piste@span_199003657-1.2
oeuvre@20423
This work is based entirely on verbal sounds. All the literary material is constituted of quotations. The five languages used in the piece - Portuguese, English, German, Hebrew and French, besides the Italian that serves to its title - are like allegories of their own cultures. Originally I’ve conceived the piece in four parts which represent a trajectory that goes from difference to similarity between the languages employed. Only the two first parts were realized: in the first one, the languages are at their maximum of differentiation, both in semantic and phonological sense; in the second one, they initially try to come together, phonologically speaking: they tend to polarize common phonemes - like the /s/, the /m/, and so on -, while the signification of words remains divergent. The quotations correspond somehow to an “eulogy of the self” (fragments by Adam Smith, Darwin, Kafka, Nietzsche, Antônio Vieira, Diderot, and from the Old Testament). I would like to thank in this context the poet and friend Roberto Zular, whose literary support mostly enriched this project.
[source: reseauxconcerts.com]
piste@span_199003657-1.9
oeuvre@20412
EXPASSVM in Latin means “unfold”, but creates a false cognate with “space”, and the relation between these two ideas anticipates one of the interests of the piece. The spatial unfolding displayed initially with circular movement of a sound counter-places itself to its spectrum (embedded origin). Frequency bands extracted from this spectrum are defined to outstand certain non-audible characteristics in the sound as a whole and polarizes note groups which will constitute the harmonious “sense” of the piece. The long initial “timbre-harmony” sounds acquire a new dimension that striates the time creating the pulse and turning it polyrythm. The polyrythm splits in two at its extremes creating the dialectical relationship between corpuscular sounds, originated by pulses, and the “timbre-harmony” sounds (absent origin). Therefore, the “unfolding” ingrains itself, during the totality of the piece, in its simultaneity as well as in the succession. The piece was co-realized at the home-studio of the composer in Campinas.
[source: reseauxconcerts.com]
piste@span_199003657-1.11
oeuvre@20365
piste@span_199003657-1.13
oeuvre@27775