Tese Violão Expandido
Encarte do CD VIOLÃO EXPANDIDO – English version below
AQUARELLE – SERGIO ASSAD
It is the first work for solo guitar written by Sérgio Assad, from Duo Assad with his brother Odair. It was composed in 1986, in Paris, having as inspiration his wife’s paitings. It was dedicated to the Scottish guitarist David Russel. The first recording was made by Adam Holzman in 1991.
In Aquarelle, Sergio Assad develops a pictorial sound. In Divertimento, fragments of a Brazil painted in shades of Choro, Frevo, Garoto’s idiomaticity, instrumental works of Nazareth, Villa-Lobos aesthetic, Egberto Gismonti and contemporary Brazilian instrumental music.
In Valseana, we taste the pure and simple relation of the dance inherited from the Europeans, appropriated by the Brazilians who transformed the song, rhythm, percussion and instrumental form.
In Prelude and Toccatina, at first a theme and variation, gradually a transition that no doubt falls into the instrumental Frevo, with several voices resonating lights simultaneously. It seems that the composer sees himself at a point of convergence. However, between formalism and structuralism, he prefered to reestablish the spontaneous path of popular culture.
LULLABY – CLARICE ASSAD (1978)
Clarice Assad is Sérgio Assad’s daughter. “Lullaby” was composed in 2013, the second of the “4 Miniatures” dedicated to guitarists. Dedicated to Connie Sheu and her daughter Cara Belle, she was part of the “Call for Guitarist Series” (2012-2013), won by Connie.
It is a sensitive work. The scordatura of the guitar, the flexibility of the tuning of the strings, almost touches us like the wind in a pleasant atmosphere of sensorial vibration. It is a “female” work composed by a woman and serves as an ethereal and transitional element, a flying ship – orbital sonorous taste – bypassing this expanded universe, looking from above with affection all this diversity. Clarice transcribes sensations of singing, giving birth in this affective and nocturnal climate.
PASSACALHA PARA FRED SCHNEITER – EDINO KRIEGER (1928) Born in Brusque, Santa Catarina, State of Brazil, settled in Rio de Janeiro, Edino Krieger in this work is still the young man who played Brazilian serenade to the guitar when he studied Composition in London with Lennox Berkeley in the 1950s. He homages the friend, guitarist and composer Fred Schneiter (1959-2001), of the unforgettable Duo with Luís Carlos Barbieri.
This song is a chromatic and complex atonal theme and variation. Its variations permeate paradigms developed by Tárrega and Villa-Lobos that will lead to a popular eternal spiral. The percussive and strumming development are trademarks of the composer in Ritmata (1974) and Concerto for 2 Guitars and Strings (1994). In the case of this Passacalha we heard the transformation to the Baião, resigned in percussions and transformed into zabumba (Brazilian percussion instrument) sonority.
UNICORNIO – JAIME ZENAMON (1953)
Jaime Zenamon was born in Bolivia and is naturalized Brazilian. He lives in Curitiba, where he was one of the founders of the guitar course at the EMBAP (School of Music and Fine Arts of Paraná). Unicornio was composed in 1997 and had its debut by Mário da Silva in 2004.
Jaime Zenamon brings together in this composition aesthetic patterns of affinity of the composer of his Russian-Jewish and Latin heritage. In a balanced postmodernism we see Russian forms of Prokofiev’s works as well as elements of Flamenco such as scales and rasgueado passages. In the central part the work exhibits a cantabile lyricism. The mythical symbolism of the animal, the lonely guardian of nature, represents a metaphor for the guitar and its way of surviving – ethereal, almost unreal – in the universe of classical music.
PERCUSSION STUDY 1 – ARTHUR KAMPELA (1960) Kampela was born in Rio de Janeiro and currently lives in Berlin. “Percussion Study 1” won composition award Rodrigo Rivera, in Caracas, Venezuela, in 1995. Kampela studied with Hans-Joachim Koellreuter and Ricardo Tacuchian in Brazil. He also took lessons with English composer Brian Ferneyhough. His music brings influences from Brian Ferneyhough and Elliott Carter.
“Percussion Study 1” is an award-winning work for the novelty of his audition. Arthur Kampela uses tapping technique, the extended technique applied in the foreground. It is transcendent percussion of idiomatic and sequential patterns. A sound writing that gives us the sensation of diversified and diffuse complexity, however, it resembles a child free of formalism, discovering the instrument and its sound. Pizzicato a la Bartok combined with percussion means stretching the string and popping it against the arm of the instrument and its result is a idiomatic and revolutionary noise: it is a guitar. It is as if a pianist discovered a way to pinch the piano strings without moving away from the keyboard. Pull the string out of the instrument and play it normally, creating a provocative uncomfortable sound.
CORDA MADEIRA – ALESSANDRO FERREIRA
Alessandro Ferreira was born in Pelotas, Rio Grande do Sul and lived in Curitiba, where he has a master degree in the Federal University of Paraná. In Curitiba he met Mário da Silva. “Cordamadeira”, written in 2008 “for guitar and electroacoustic sounds” received in 2010 the Funarte Prize for Classical Composition. “Cordamadeira” refers to the symbiosis of three elements related to the guitar: color (timbre), strings and wood. Does the strong sound image of the fall of a tree (in the stages of blow, cut and tipped) be considered music? Metaphorically the question resulted in environment criticism. The work extracts and manipulates the sonority of the guitar, opening up another channel of listening, an unexpected sound fiction, distorting the reality through prolongation and temporal reduction of event and expansion of the spectral space, inspired by commom procedures of tonal music. The guitar played alive seems to be inside an echo chamber, a cave in which independent sounds manipulate its true genesis.
DO LADO DO DEDO (THE SIDE OF THE
FINGER) – CHICO MELLO Chico Mello (1957) was born in Curitiba and studied guitar at the Embap (School of Music and Fine Arts). He was student of Hans-Joachim Koellreuter and José Penalva. From 1982 to 1986 he was a professor at Embap, then settled in Berlin. Do Lado Do Dedo, composed in 1986, is seminal work in the history of the guitar of Parana and brings concepts of expanded guitar in its composition. It is dedicated to Orlando Fraga, who made his first recording on the LP “Guitar” in 1987 and, in 1994, edited the score. In Do Lado Do Dedo, Chico Mello approaches the sensory, tactile and transformation relation of the body of the guitar (scordatura and objects), producing sounds associated with other instruments like the berimbau and the viola caipira. The pen – object of writing – divides the harmonic scale, bringing the instrument closer to the Indian zither. In fact, for sometime, the composer studied Indian music deeply. The quick vibrations produced by the microtonal tuning and its slow and continuous percussion seem to bring the guitar closer to the body. For Chico Mello, “the guitar is a continuation of ourselves: a friendly hand, a friend to sing with us. Someone rubs their strings, caresses them, asks something, and a sound gives us the answer.