Kahn Award Application - original compositions


LOVESONG (2017)
for flute, harp, Cello & ELECTRONICS

 

Program Notes:

The point of departure of LOVESONG was a field of exchangeable sonic and physical identities, framed by the uneven relationships in the ensemble. The result -- a landscape of asymmetrical affect -- emerges from this play of presences. 

SCORE

Video excerpt, last 5 minutes of the piece.


vigília (2016)
for large ensemble

 

SCORE

Instrumentation: flute, B-flat clarinet, 2 percussionists, 2 string quartets

Program Notes:

Vigília [Vigil], for large ensemble, is a piece to be watched over. As a sonic object, it is immediately shown in full, only to be taken away—muted, filtered, and broken down into its most basic constituent parts. As the piece wanders silently that initial moment remains present as a promise and an invitation to stay with the work, to listen closely as it strives to heal. Meanwhile, the ear is sensitized to a world of delicate building blocks: movement, friction, and materials.

In Brazil, vigílias are always held through the night when someone passes away. Family and friends will gather and stay with the body until the early morning, when burial rites are normally carried. The experience is one of profound juxtaposition: in the lifeless presence of the dead, animated memories are shared and internalized.


CORpo confesso (2015)
for string quartet

Program Notes:

Corpo Confesso is part of a larger group of pieces, all of them carrying the word corpo (from Portuguese, "body"). Overall, these works seek to synthesize, from the authors' perspective, a variety of ways in which one can look at acoustic ensembles, both through their shear physical reality and from the referential corpus we inherit from their literature.

Intimate in character, Corpo Confesso invites the listener to closely experience a multitude of instrumental surfaces. These glanses are made possible through a plethora of performative techniques, that also draw attention to the intense choreography intrinsic to the stage. The piece alternates more or less self contained windows of material, all of which cast a different light in the quartet's expressive potential.