Composed for the Gropius Quartet , Germany
I Movement – Dança de Chão (premiered by the Gropius Quartet in October 2022 at the Brazilian Embassy in Berlin)
II Movement – Frevo
III Movement – Ijexá
IV Movement – Forró
Composed for the Gropius Quartet , Germany
I Movement – Dança de Chão (premiered by the Gropius Quartet in October 2022 at the Brazilian Embassy in Berlin)
II Movement – Frevo
III Movement – Ijexá
IV Movement – Forró
Electronics: Vinicius Giusti
Upaapitsi means soul in the language of Wauja, an Indigenous people inhabitant of the upper Xingu, central Brazil. Literally, the word means “another self”, referring to a part of the self during his life. “Soul” in the sense of afterlife is another concept, it is designated by another word. Upaapitsi designates the soul of the living self. In this piece, the C flute represents the living self, while in the fixed electronic part a bass flute represents the Other, Upaapitsi. This pre-recorded flute uses the same materials as the C flute, only it is played in a slower tempo and undergoes timbral transformations. At certain moments, both flutes are in sync. The C flute part has 5 parts, interspersed by electronic sections.
Bass flute: Cassia Carrascoza
Commissioned by Via Nova Ensemble, Germany. Premiered by Marianna Schürmann in 02.10.2022 (Herbstfrequenzen Sondershausen)
hear the premiere
After Ernst Mahle’s Concerto for Trombone (1984).
This work was composed as part of the doctoral dissertation of Diego Leite Ramires and combines a composer-performer collaborative approach and intertextuality.
A version with piano reduction was premiered at Diego’s doctoral dissertation’s defense in 27/10/22.
Version with orchestra (virtual instruments)
Acácio Piedade discute o uso de dados etnográficos na composição de música contemporânea de concerto. Para isto, percorre sua própria trajetória acadêmica pelas áreas da composição, antro- pologia e musicologia analítica em direção ao que chama de composição transcultural. O artigo é baseado na recente pesquisa e atuação do autor como professor visitante na Hochschule für Musik Franz Liszt Weimar, Alemanha, integrando os Estudos em Música Transcultural e a área da Composição, a partir da qual passou a integrar seu conhecimento antropológico de música indígena na sua criação como compositor. Para além da ideia de composição transcultural, o artigo sugere um conjunto de compromissos éticos e artísticos para compositores e compositoras da atualidade.
Piano Improvisation I and II (Covid-19 pandemic)
At the beginning of the Covid-19 pandemic I thought I would have time enough to compose and therefore to conclude several until then unfinished works, as well as new works. At the time of these two improvisations, I realized that having time enough is not the main point for being productive in composing. I had plenty of time at home and however something was empty: there was a lack of human stuff. Meeting friends, chatting about any subject with any people, going to common places and doing common human things, small talk at a bus stop, looking at stupid little things in a street market, I missed all this. All these things that were cut off due to distancing during the pandemic are sources for the human stuff needed for composition. Not only the time for composing at home, but the time for being with people and living the little small things of life. These improvisations are extremely solitary and were done with this idea in my spirit.
piano: Acacio Piedade
Recorded at 19/10/2020, Florianopolis, SC, Brazil
Saxophone Octet (2 Soprano, 2 Alto, 2 Tenor, 2 Bariotone)
Duration: 7′ 20
Kagapa Onapa means “music of Kagapa“, name of a spirit among the Wauja people of the upper Xingu River, Amazonia, Brazil. During the ritual of Kagapa, two singers sing in unisson. While one stands up behind the other and plays maracas, the other remains seated and plays a rhythmic stick beating it on a trunk. Both singers are surrounded by dancers who also sing their high onomatopoeic cries. The origin myth of Kagapa tells that Kagapa Onapa was learned by a boy when he visited the village of the fishes, where he was invited to marry the chief’s daughter. Since then the Wauja can play Kagapa’s very powerful, energetic and pulsive music for the healing of people and all society.
This piece is inspired in the Kagapa ritual music, which I experienced, recorded, transcribed and analysed during fieldwork among the Wauja for my doctoral dissertation, an ethnography of the their flute music. I used some rhythmic, motivic and textural materials, and some principles such as constant pulse, nucleus-periphery and alternating style. However these materials are deeply transformed to enact another ritual provided by the flexibility and colors of the saxophones at stage.
Kagapa was still not premiered, but you can hear a version here with virtual instruments.
still not premiered
Danças para Violoncelo (Dança em Vermelho; Dança em Azul-Cobalto; Dança em verde musgo com poeira violeta)
5 miniatures for piano
formas antigas, uma valsa, uma fugato fugaz, segredo de escuros, tempo cinza
(“busts: ancient forms, a waltz, a fleeting fugato, secret of darks, grey weather”)
vida de madeira, mecanismo que caminha, coração de bronze tem um devaneio
(“automaton: wooden life, walking mechanism, brass heart has a daydream”)
riscos, farfalhar, tapete seco sob as pedras, escorregando grota adentro
( “leaves: scratches, rustles, dry carpet under the stones, slipping into the grotto”)
esguia, feminina, olhar altivo, esboços de tempo, espirais de memória, vai-se
(“eurydice: slender, feminine, haughty look, time sketches, memory spirals, it goes”)
sombras de pássaros negros histriões, gritos na névoa, rasantes, ondulações
(“crows: histrion black birds shadows, screams in the mist, swoops, ripples”)
for solo guitar – 6′
Based on Indigenous music materials. Composed for guitarist Marcelo Brombilla.
Interview about this piece and Indigenous music:
based on the homonymous Cantiga #1 by Dom Dinis (King of Portugal, XIII Century)
for Bariton, Alto Flt., Medieval Harp, Viola de Arama, Brazilian Fiddle, Organetto
for the ensemble ANIMA (Brazil)
CD Mar Anterior: As Gentes (2020), Selo Sesc – Brazil
Lamento for G , for 2 Flt., Hpsd., 2 Vln., Vla., Vc., Cb.
The note G is absent from this work (except for the last seconds). This Lamento develops this absence in various forms. From the beginning on, G is attracted and surrounded but it does not appear. At the last 3 measures, G is played in harmonics by the first violin.
Lamento for G refers to the note G and G stands for Geo, Earth, symbolizing our planet. G(eo) is imprisoned inside a constant cloud of 11 notes, like a precious jewel locked inside a plastic package. Only in the last seconds, G(eo) weakly manifests itself; a proof of its survival.
Premiered in Weimar, 19.12. 2019, Mon Ami, Weimar, Germany
Dedicated to Pachamama
Composed for the Camerata Temporalis
(revision of 2009’s Alternating Duets)
Linhagens (Linneages) was composed in 2016 and revised in 2019
Premiered at the Tinta Fresca Festival 2019 – Belo Horizonte, 18.06.2019, by the Philharmonic Orchestra of Minas Gerais.
Awarded with Honorable Mention
This work was written for symphonic orchestra and is based on a board of seventeen chords. The idea of Linhagens points to two meanings of this term (in portuguese: “Lines”and “Lineages”): on the one hand, the lines that seam the succession of these chords through motivic materials that come from themselves; On the other hand, the work does not hide its intimate relationship with the tonal harmonic system through the use of intervals of Third and, thus, it puts itself in a lineage: the historical descent of the great “tertial” theory that is the very foundation of tonal music. The ordered chord board is exposed in three sections of lineages and, at each moment, the chords are presented in blocks of textures and varied timbres, concatenated by elements that originate in their own structure. This succession of scenes, sometimes dark, sometimes playful, aims to provoke the senses of the listener through the orchestral timbres. These sections are intercalated by interludes that are constructed from an ordered set of successive Thirds, a material which is also used in the initial section and at the end of Linhagens.
The recording of the premiere cannot be published because it is under the right of the Minas Gerais Philharmonic.
Listen here to a MIDI version
Score of Linhagens
184.108.40.206/220.127.116.11/Tmp., Perc., Str.
Prize: I Internationaler Eisenacher Kompositionspreis – Eisenach, Germany August 2019
A Countersubject appears as a shadow of its main theme, the Subject. It accompanies the Subject in all his travels, crossing several landscapes, carrying his suitcases, preparing his soil. However, when appreciated in itself, Countersubjects may possess great beauty and potential independently of their masters. This orchestral work uses countersubjects created by J. S. Bach for some of his famous fugues from The Art of Fugue and The Musical Offering. As the respective Subjects are absent, Countersubjects have here a free space of their own where they can amuse themselves and show all their power.
Premiere: Thüringen Philharmonie Gotha-Eisenach conducted by Alexei Kornienko, at Eisenach, Germany, on 16 August 2019.
Press release: https://www.pressreader.com/germany/thuringer-allgemeine-eisenach/20190819/282432760801549
“Hochspannung herrscht, als die Uraufführung für das Stück ” Divertimento für Kontrasubjekte” durch die Thüringen-Philharmonie unter Leitung von Alexej Kornienko beginnt, und für Hochspannung sorgt das Werk durchgängig. Divertimento heißt übersetzt Vergnügen, und das Zuhören ist tatsächlich ein Vergnügen. Der Komponist hat nach dem Vorbild von Johann Sebastian Bach Fugenthemen im Hintergrund platziert und darüber die Kontrasubjekt-Melodien gelegt. Dadurch wird ein spannungsreiches Klangbild erzeugt, verstärkt durch die außergewöhnliche Instrumentierung und Rhythmisierung. Sowohl die orchestralen als auch die Gruppen- und Solo-Passagen sorgen für feinsinnige Klänge, dank des Mutes zu Pausen und Rhythmik erweitert sich der Spannungsbogen.
Der renommierte russische Dirigent Alexei Kornienko setzt diese potenzialreiche Vorlage mit Hingabe, Sorgfalt und Leidenschaft um, sodass ein Gesamtklang mit berauschend-atmosphärischer Sogwirkung entsteht. Ein Auf und Ab, Hin und Her, Ausatmen und Einatmen bestimmt das Stück. Wogenartige Melodiebögen wechseln sich mit Solo-Akzenten; auf
meditativ-sanfte Passagen folgen expressiv-gewaltige; Düster-Wuchtiges wird durch Strahlend-Schillerndes abgelöst.
Ein Stück wie das Leben mit Höhe und Tiefen, Bergen und Tälern, mit unbewusst im Hintergrund mitschwingenden Beeinflussungen und den vordergründigen Lebensmelodien. Kornienko dirigiert mit dem offensichtlichen Bewusstsein für die Tiefe des Stücks, und die Musiker und Musikerinnen lassen sich ebenso voll darauf ein”
Susanne Sobko – Thüringische Landeszeitung – Eisenach vom 19.08.2019, Seite 22
Cycle of pieces inspired by the modernist aesthetic linked to the Bauhaus movement – especially the work L’Histoire du Soldat by Igor Stravinsky – Commission of the Bauhaus Universität and Hochschule für Musik Franz Liszt.
Commissioned by the Bauhaus University and the University of Music Franz Liszt Weimar – Germany; for the immersive Music Theater show Cirque du Bauhaus http://www.cirquedubauhaus.de/index.php/contents.html
Premiere: 22.05.2019, Zeiss-Planetarium, Jena, Germany
A MIDI Version:
News from the press (in German): ttps://jena.otz.de/web/jena/startseite/detail/-/specific/Jena-Eine-Zirkus-Dimension-fuer-das-Bauhaus-1952962783?fbclid=IwAR255mXSR3K7A4Ssv4LBD1ci_nD5Q96Mm4lP4He-J2mtPAbkSNPr7rF2taA
Video disclosure (from 2:17 on)
Video: The dome is the maestro (March)
The Wauja Indians from the upper Xingu River (Amazon – Brazil) tell the story of a mythic time when the world was dark and cold, and they were still not human, they lived like termites under the earth. A powerful being called Kwamutú happened to appear, bringing them light which he had taken from the Fox. This light was fire and this fire was light. It was such a tremendous event that the world was completely transformed and the Wauja emerged to the surface becoming human. This power of fire and light is called Kwamutú Omonawana. The first section of this work portrays the dark under-earthly world, presenting its voices and dialogues. During the middle section, the emergence of Kwamutú generates a transmutation of the Wauja and their world. The eclosion of fire and light and the humanizing dance as the result of Omonawana constitute the dramaturgy of the third and last section.
Premiered by the Jenaer Philharmonie
Conductor: Markus L. Frank
28.04.2019, Weimar, Germany
recording of the premiere:
Variations is a work for Wind Quintet (Fl, Ob, Cl, Hr, Bs) with a tonal and expressive theme that is transformed by variations and then re-exposed. The piece was selected for the XXIX Panorama of Contemporary Brazilian Music in Rio de Janeiro, and it was debuted by the Quinteto Lorenzo Fernandez at 06.11.2018.
Concert at 20.07. 2019. Teatro de Câmara da Cidade das Artes – Rio de Janeiro – Quinteto Lorenzo Fernandez
Watch the premiere Concert at http://acaciopiedade.com/en/video/
Onapapitsi (“Tribute Music”) is a composition for two Alto Flutes based on musical techniques employed in rituals by Amazonian Indigenous peoples, particularly the alternating style and multiphonic sounds. Commission for the delivery of the Goethe Medaille 2018. Dedicated to Claudia Andujar and Davi Kopenawa. Premiere at Weimar, Germany.
Onapapitsi was premiered in Brazil in December 2021 by the ABSTRAI ensemble. Flute: Pauxy Gentil-Nunes and Andrea Ernest Dias (starts at 1:20:00)
Listen to an excerpt from the world première ; flute Alto: Fabian Franco Ramirez and Anne Baumbach. Stadtschloss Weimar, 28/08/2018.
Reverences IV – for Claude Debussy
dedicated to Mauricio Zamith
Piano, Violin, Cello
Encantamentos (Spells) is an experimental composition for violin, cello and piano that brings excerpts with open writing, with gestures and improvisations. The work seeks to bring the listener to moments of magical suspension and to cause changes in the temporal perception.
Piano: Acácio Piedade; Violin: Deborah Remor; Cello: Eric Miranda Schmitt.
International Festival of art and culture José Luiz Kinceler, Florianópolis, 06/02/2018 (Premiere)
Solitude is a song for piano and soprano with the eponymous poem by Cecilia Meireles, published in the book Viagem (Trip) (1939). 3′ 40
Alicia Cupani, soprano; Luis Claudio Barros, piano
Dedicated to Maria Ignez Mello (In memoriam)
Part of the Caderno II (Notebook II) of Bruxólicas (a collection of pieces inspired by witch stories), the part Nr. 4 is the sister of Nrs. 2 and 3 because they have a common material: resonance of sostenuto pedal, symmetric chords, a short gesture in arabesque, among other materials. Here the piano is divided into 4 regions separated by octaves that are suspended by the pedal and create by sympathy a cloud of resonance. The first part goes like a first exposure of a four-voice fugue, but paradoxically without counterpoint, the countersubject being the very cloud of resonance. There is a twelve-tone theme in the subject which will be developed throughout the piece. This witch of Bruxólicas Nr. 4 is a multivocal being that speaks in four voices with very different registers.
Premiere: 8. Concert Musical Mosaic, Teatro alvares de Carvalho, Florianópolis, 12/10/2017. Piano: Acácio Piedade
Piedade, Acácio T. C. Uma análise do prelúdio da Bachianas Brasileiras no 2 sob a perspectiva das tópicas, da retoricidade e da narratividade. In Paulo de Tarso Salles e Norton Dudeque (orgs.) Villa-Lobos, um Compêndio : Novos Desafios Interpretativos. Curitiba : Editora da UFPR, 2017, p. 273-289.
for Flute, Cello, Piano
debuted at the Festival music Nova 2017 – Ribeirão Preto, SP
Ensemble Gilberto Mendes
4 Bb Clarinets
2 Bb Bass Clarinets
The clarinets sextet was composed in 1985 during my studies at UNICAMP for a group of Clarinetists from the university: four BB clarinets and two bass clarinets in BB. The composition was unfinished, so it wasn’t touched. In 2017 I decided to complete this project by preserving the language in which it was written. The work follows a traditional pattern of writing, using many alternations of phrases between sub groups of clarinets.
Piedade, Acácio T. C. The City and the Country in Villa-Lobos’s Prelude to the Bachianas Brasileiras no. 2: Musical Topics, Rhetoricity and Narrativity, Revista Portuguesa de Musicologia, 4/1, 2017, p. 83-100.
In this article I examine Heitor Villa-Lobos’s Prelude to Bachianas Brasileiras no. 2 from the perspective of topic theory. I begin by raising some theoretical issues about topic theory and rhetoricity, intertextuality and music narrativity. After a brief historical contextualisation of the work, I present analytical comments on the Prelude’s sections. In the conclusion, I present a cultural interpretation of the analysis, complementing the analysis’ results with the theory of narrativity to offer an interpretation of this piece.
Piedade, Acácio T. C. Modelação do tempo: Salvatore Sciarrino, janelas e nublamento. Revista Opus, vol. 23, nr. 2, agosto/2017, p. 131-154.
Neste artigo pretendo discutir uma das figuras da linguagem musical do compositor italiano Salvatore Sciarrino: a forma em janelas. Após definir esta figura da maneira como o compositor a explica, procurarei mostrar que, na composição, as janelas podem se abrir tanto para dentro quanto para fora do discurso musical. De um lado, elas apontam para um ambiente interior da composição, constituindo uma remissão interna. De outro, provocam o ouvido a compreender a referência externa, construindo uma intertextualidade. A partir da janela para fora, tratarei de técnicas de distorção, particularmente daquela que chamo de nublamento. Nas conclusões retomarei a questão da memória e da composição enquanto modelação do tempo.
The three guitar studies were composed as part of my research project at the University. I counted with the collaboration of student guitarist Reginaldo Pereira de Almeida. The study I is traversed by a rhythmic figure in ostinato over which a polyphonic dialogue to two chromatic voices is developed. Study II works the sustain of voices in a polyphonic chromatic material, having a central section that articulates resonances and sounds through campanella technique. The main theme of the study III is based on a left hand fixed position that moves on and produces octatonic sounds, and it has a central section with campanella resonances.
Premiere: 8. Concert Mosaico Musical, Teatro Álvares de Carvalho, Florianópolis, 12/10/2017. Guitar: Marcello Brombilla
Linhagens II (Linneages II) has its the material generated from a seventeen ordered groups of chords. The work encompasses the two-folded meanings of the word “linhagem” in portuguese: on the one hand, “linhagem” refers to lines (for weaving) and this sense appears through the sewing of these chords by internal lines; on the other, “linhagem” refers to lineages, kinship, and here there is an heritage of the tonal harmonic system through the use of triads. Linhagens II is divided in four parts I. 2 ′, II. 2 ′, III. Two, IV. 3 ′.
Performance Alinhavos (Threads) – Linhagens II, piano and electronics, 25 ′
Debuted in November at the XIV national Meeting of Creativity Sound (ENCUN 2016) in Porto Alegre, the performance Alinhavos– Linhagens II It is approximately twenty-five minutes and proposes crossovers and interactions that align music, spoken poetry and audiovisual. The idea is tack lines of nature, restoring known shapes, unfolding them, recreating them through music, image and Word. Multiplicity of languages that interpenetrate, which extend into a continuous deviance of traces in mobile plasticity, which draws the visual and audible space.
Alinhavos– Linhagens II It is part of a series of work by Silvana Leal entitled Alinhavos. These are plastic, visual, performance and sound works using the lines as a basis for a compositional material – the line as research in the construction of unusual shapes and actions. The video is a collage of three previous works of Silvana that, alinhavados in this work, are recreated in another conception.
The musical work created by Acácio Piedade for this performance action, conceived for piano and electronics, is based on the work for piano solo Linhagens II. The electronic part of Alinhavos– Linhagens II It was elaborated from sound objects created with musical instruments (such as vibraphone, marimba, eardrum, bomb, dishes), water sounds, wood squeaks and other materials, altered by manipulation and digital modulation.
Listen here three excerpts from the premiere of Alinhavos/Linhagens II
PIEDADE, Acácio T. C. ; MENSING, Benedikt. “Inversão de causa e efeito – uma análise da peça Salut für Caudwell de Helmut Lachenmann”. Anais do VI Simpósio Internacional de Musicologia. Goiânia: UFG, 2016, p. 235-243.
Neste trabalho comentaremos a obra Salut für Caudwell, composta para dois violões pelo compositor alemão Helmut Lachenmann (1935). Lachenmann é expoente de uma corrente que pode ser denominada “música sonora” (Klangmusik), uma música que abandona as técnicas tradicionais de compor com notas, funções e categorias como “consonância” e “dissonância” pela idéia de “som como uma mensagem transmitida pelo próprio mecanismo original, logo, som como experiência de energia”, como afirma o compositor. Apresentaremos uma breve biografia do compositor e em seguida discutiremos o conceito de música concreta instrumental. Mostraremos parte do vocabulário analítico-sonoro que Lachenmann desenvolveu para a música concreta instrumental em exemplos musicais de Salut für Caudwell. Ao final acha-se uma análise da obra e algumas conclusões.
PIEDADE, Acácio T. C. ; MEDEIROS, Arílton. “Ravel na chuva: considerações analíticas sobre Anamorfosi para piano solo, de Salvatore Sciarrino”. Anais do XXVI Congresso da ANPPOM. Belo Horizonte, ANPPOM, 2016.
Este artigo é uma análise da obra Anamorfosi (1980), para piano, do compositor italiano Salvatore Sciarrino, nascido em 1947. Nesta obra o compositor pratica uma transformação da famosa canção popular Singing in the Rain, mundialmente conhecida através do filme homônimo, na qual a canção é perpassada musicalmente por outra obra, Jeux d’Eau, para piano, de Maurice Ravel. Nesta curta obra de Sciarrino encontra-se em um jogo de linguagens musicais que “deforma” a canção pouco a pouco através da música de Ravel. Vamos tratar desta obra através dos conceitos de re-escrita, intertextualidade e “forma a janelas”.
PIEDADE, Acácio T. C. ; AUGUSTO, Raphael. “Questões de Intertextualidade e Composição em Fascination para violoncelo e piano (2013) de Acácio Piedade” Anais do XXVI Congresso da ANPPOM. Belo Horizonte, ANPPOM, 2016.
Este artigo pretende realizar uma análise da composição Fascination (2013) para piano e violoncelo, de Acácio Piedade, à luz da teoria da intertextualidade. Primeiro é definido o conceito de intertextualidade tal como surge na crítica literária da segunda metade do século XX. Em seguida, brevemente, os usos da intertextualidade na história da música ocidental são exemplificados e o conceito de intertextualidade é definido no campo da composição musical contemporânea, antes de se dar a análise propriamente dita. Concluímos que Fascination apresenta diversos procedimentos intertextuais comuns à composição contemporânea que desafiam as noções de “autoria” e de “originalidade”.
PIEDADE, Acácio T. C. ; SCHMITT, Érico. “Ferramentas intertextuais em Mystery Variations on a Theme by Giuseppe Colombi, para violoncelo solo”. Anais do XXVI Congresso da ANPPOM. Belo Horizonte, ANPPOM, 2016.
Esta comunicação propõe uma análise da obra intitulada Mystery Variations on a Theme by Giuseppe Colombi (2012), de vários/as compositores/as, dedicada ao violoncelista finlandês Anssi Karttunen. Ela contem trinta e uma composições para violoncelo utilizando como base uma das primeiras obras escritas para este instrumento: a Chiacona per Basso Solo, de Giuseppe Colombi (1635-1694). A análise visa descrever processos intertextuais baseando-se em ferramentas descritas por Harold Bloom, Kevin Korsyn e Joseph Straus.
Picc., 3Fl, 3Ob., 3Bn., Eb cl., 2Bb CL. Bs. Cl., 2Alt. Sax. Ten. Sax, Bar. Sax., 4Hn., 3Tpt., 3Tbn., Tba., Db., Timp., Vib., 3Perc.
I.Escarpas ; II. Colinas; III. Plains
Work selected by the XVIII Panorama da Música Brasileira Atual and debuted in 27/11/2016 by the Woodwind Orchestra of UFRJ, regency of Marcelo Jardim, Sala Cecilia Meireles, Rio de Janeiro.
Três Relevos (three landscapes) are inspired by three different geographical formations and the expressive contents associated to them. The movements are executed without stop. Escarpments are repetitive, full of slopes and edges that limit them. In the Hills there end the sharp tips, and the elevations are more linear and gradually ascending. The Plains where we arrive are flat but swept by winds, hence the static agitation. The work is a kind of painting of these landscapes.
Audio: recording of the premiere
Listen also Escarpments A version of the first movement of Três Relevos, written for wind ensemble. Escarpas was premiered by the Mogiana band (Festival Music Nova, 2016). Conductor: José Gustavo Julio de Camargo.
Work for solo guitar composed in 2016 at the Ateliê Casa das Idéias, Campeche, Florianópolis. Dedicated to Silvana Leal.
performance by Leonardo Müller (III Festival Edino Krieger, 2021)
Reverências is a cycle of pieces written in reference to the compositional languages of composers who have marked my formation years. The cycle counts today with three piano pieces in four hands, but it is continuous. The first piece is Abertura Soviet – for Dmitri Shostakovich, composed and premiered in 2009. The first theme is grandiose ouverture and the second is more intimate, this duality representing two historical facets of the life of this composer: on the one hand, the artist subject to the aesthetic rules of the State, compelled to express grandeur and vigor, but sounding somehow a little grotesque; On the other, the composer with his deepest free inspiration, composing secretly. The second piece, Adagio Misterioso – for Gustav Mahler, begins with variations on the motive I’ve called “magic chariot”, which is present in some works of the composer, as in the beginning of the Fourth Symphony. The language here refers to the late Romanticism and the transition to the twentieth Century, with the first steps towards atonality. The work unfolds as a fantasy, combining the pastoral and the mysterious, as well as some allusions to Wagner’s Tristan motif and Debussy’s Prelude to the Afternoon of a Faun, and at the very end there is a brief quotation from the beginning of Mahler’s First Symphony. The third piece is entitled Dança do Menino Tuhú – for Heitor Villa-Lobos, and it has a playful, dancing and popular spirit, representing the tricks of the boy Tuhú, nickname of Heitor Villa-Lobos as a child. In the central part of the piece the spirit goes more emotional and is construed as quotation of the known piano piece “Brazilian Soul”. The whole cycle is impregnated with a tonal aesthetic with some touches of free atonality. The second and third pieces, composed from February to April 2016, which debut in this concert, have cyclic elements, absent in the first. These three pieces have a traditional formal structure, the musical language being purposefully more tonal and conservative, in order to establish an open dialogue with these three pillars of concert music of the twentieth Century. They are reverences to these masters, and references to my formation.
Duo Castelan & Barros
Music Department Auditorium- UDESC
Listen to the three pieces
(Dance in Red), 2015, solo cello, 6 ′. This piece explores shades of red showing the dark and warm qualities of the cello’s breath. Excerpts from this piece were part of the original track of the contemporary dance show Rec(L)Usadax, dancer-choreographer Elke Siedler.
Premiered on 21/01/2018 at Konzertsaal der Musikhochschule Münster, Germany, by cellist Fabio Presgrave.
Listen here a studio recording made by Fabio Presgrave (2017).
To those who hesitate – a poem by Bertolt Brecht
Original name of the poem: “To a Wavarer”
Part of the Svendborg Poems (1938-1941)
Aos que Hesitam, for Soprano, Alto Recorder, Violin, Cello, Piano and Percussion
Portuguese Translation: Paulo Cesar Souza
AOS QUE HESITAM – Bertolt Brecht
Você diz: Nossa causa vai mal. A escuridão aumenta. As forças diminuem. Agora, depois que trabalhamos por tanto tempo,
Estamos em situação pior que no início. Mas o inimigo está aí, mais forte do que nunca. Sua força parece ter crescido. Ficou com aparência de invencível. Mas nós cometemos erros, não há como negar.
Nosso número se reduz. Nossas palavras de ordem Estão em desordem. O inimigo
Distorceu muitas de nossas palavras Até ficarem irreconhecíveis. Daquilo que dissemos, o que é agora falso: Tudo ou alguma coisa? Com quem contamos ainda? Somos o que restou, lançados fora
Da corrente viva? Ficaremos para trás Por ninguém compreendidos e a ninguém compreendendo? Precisamos ter sorte? Isto você pergunta. Não espere Nenhuma resposta senão a sua.
Toccata, 2 violas, 7 ‘
This Toccata has the subtitle Chamamé (South American Rhythm) and was composed especially for the II national meeting of Violistas, which took place in Florianópolis in 2016.
Executed by Alexandre Razera and Jairo Chaves, 21/10/2016, Teatro alvares de Carvalho, Florianópolis.
PIEDADE, Acácio T. C. Os usos da linguagem na análise musical In Ilza Nogueira (ed.) O Pensamento musical criativo: teoria, análise e os desafios interpretativos da atualidade. Salvador: UFBA, 2015, v.1, p. 201-206.
Neste trabalho pretendo discutir aspectos do vocabulário teórico-analítico sob uma perspectiva crítica. Atualmente poucos discordam do fato de que os analistas, através do uso de determinadas terminologias, criam verdadeiras ficções, como mostrou Marion Guck. Pois o texto analítico, como qualquer texto, está sempre permeado da subjetividade e implicado de uma retoricidade. Os vocabulários refletem visões de mundo e nexos socioculturais. Neste sentido, seria útil discutir alguns estilos de escrita e termos que vêm sendo empregados na literatura da área de teoria e análise musical e, com Wittgenstein, reconhecer as limitações inerentes do uso da linguagem.
Bruxólicas Nr. 3 – Caderno II
Premiere: Teatro Alvares de Carvalho (TAC) Florianópolis, November 2015.
The second piece of Caderno II (notebook II) of the Bruxólicas series, for piano solo.
The renascence of forgotten instruments has been an important issue in the musical world in the last decades, and it is linked to the strangulation of the Western musical language as a consequence of the modernist search for the new: the culture of progress. This reaction made possible the critique of the cultural centralism and the valuation of the peripheries. This is the context for the rising of the so-called Historically Informed Performance movement (HIP), which retakes old interpretative practices through the use of long abandoned instruments as much as the reevaluation of the performer as a co-creator of the musical work, this happening after a long period of romanticist filter. On the other side, the post-modern re-emergence of local identities urged a valuation and re-signification of regional musical practices that feed the cultural industry of the so-called World Music. In this article we are putting side by side the Baroque violin and the rabeca, two instruments with no apparent historic connection but that well represent the above described moment. The new usages and new contexts given to both these instruments in the contemporary world instigate the reflection about a possible sense behind these phenomena.
PIEDADE, A. T. C.; Fiaminghi, L. H. Rabeca Reborn: the revival of the Brazilian fiddle and the historical performance of music. In Michelle Castellengo et Hugues Genevois (dir.) La musique et ses instruments.1 ed. Paris : Éditions Delatour France, 2013, v.1, p. 497-508.
O presente artigo apresenta uma aplicação da teoria das tópicas no caso da música brasileira. Para tal, inicia com uma reflexão sobre os conceitos de musicalidade, de fricção de musicalidades no jazz brasileiro e de fusão de musicalidades que se apresenta na invenção da tradição. A discussão segue com a questão da aplicabilidade da teoria das tópicas no âmbito de uma música nacional. Após isso, são apresentados alguns dos universos de tópicas da musicalidade brasileira, com exemplos musicais. Este artigo argumenta que o conceito de retoricidade traz bons rendimentos para a questão da significação musical e que a teoria das tópicas é viável para aplicação em outros contextos musicais além daquele para o qual foi designada sendo uma interessante via para a investigação dos nexos socioculturais nas musicalidades em geral.
PIEDADE, A. T. C. A teoria das tópicas e a musicalidade brasileira: reflexões sobre a retoricidade na música. El Oído Pensante, v.1, p.1 – 23, 2013.
(Curiosities from the Microverse)
Audio: I. flagrante: beijo de deuses (Flagrant: Kiss of gods)
II. also war es gehört
III. sonho de borboleta (Butterfly’s dream)
Flute, Oboe, Bassoon
Ghost Joke, Divertimento for flute, oboe and bassoon (2012). Selected and premiered in the XXV Panorama da Música Brasileira Atual, in the Salão Leopoldo Miguez (Rio de Janeiro, RJ) in 26/5/12. Selected and executed at the London New Wind Festival in 2017.
Poem by Cecilia Meireles
Premiered in Florianópolis in 2013
In this paper I propose an analysis of the music of Brazilian composer Heitor Villa Lobos under the perspective of musical Rhetoric and the theory of musical topics. I argue that this point of view makes it possible to understand a characteristic of his musical style that was not well discussed so far, which led some critics to claim that Villa Lobos’ music is excessively chaotic or formally disoriented. In fact, I claim he is using topics of Brazilian music in a special way. The paper starts by addressing the theoretical adaptation of the theory of musical topoi in the context of National musical styles. I discuss the pertinence of topics theory in this case, departing from several authors who wrote about topics, including Raymond Monelle, and I also use some concepts of the Group Mµ. I draw upon a concept of musical topics that is more interested in the forms of use of music figures than in their fixed structures itself, which can vary among several possibilities inside the universes of topics. Then I argue that Brazilian topics started to appear in the first decades of the XXth-century in parallel to the modernist movement in the Arts, also a time when key popular music styles were in consolidation and were especially important to the agenda of the intellectuals involved with the construction of Brazilian national music. After this I present the universes of Brazilian topics and discuss excerpts of works of Villa Lobos in order to show how they appear there and to argue that rhetoricity and density of topical meaning are important characteristics of his style.
PIEDADE, A. T. C. Rhetoricity in the music of Villa Lobos: musical topics in Brazilian early XXth-century music In: International Conference on Music Semiotics in Memory of Raymond Monelle, 2013, Edinburgh. Proceedings (online), 2012
Fl. , Ob. , Cl. , Hp. , Mand. , Gtr. , Vl., Vla. , Vcl., Bs., Pf., Perc.
Premiered in 2010
Selected for the Encontro Internacional de Cordas, June 2021
3 Violas, 3 Cellos
I. La lumière de l’obscure, II. Les ondes du temps
FUNARTE 2010 Award, performed at the XIX Contemporary Music Biennial, RJ, October 2011
Deserts (2009), for mezzo soprano, two guitars and cello
I. Opening, II, III, IV, V. Interlude, VI, VII, VIII, IX. End
Work dedicated to Maria Ignez Mello (In memoriam)
Poems chosen from the book Désert, Déserts, by Jean-Yves Leloup (Albin Michel, 1996). Translation: Acácio Piedade.
Voice: Beatriz Sanson; Guitars: Luiz Mantovani and Igor Ishikawa; Cello: Hans Twitchell.
Recomposition of an old French song
Premiered in the Teatro Alvares de Carvalho in 01/11/2013
Piano: Acácio Piedade; Cello: Tacio César Vieira
Bruxólicas – Book I, is a cycle of 7 pieces for solo piano inspired by the narratives about witches in Santa Catarina Island, Southern Brazil, as compiled by folklorist Franklin Cascaes and published in the two volumes of the work “O Fantástico na Ilha de Santa Catarina” (see below).
Each of the stories contained in these books inspires one of the pieces, which carry the same title. The composition, however, is not thought of as programmatic, for the narrative does not provide a plot for the music, but rather inspires the sonic imagination of the fantastic universe of the island described in the books.
The Bruxólicas Book I contains pieces with a medium level of technical difficulty.
1. Vassoura Bruxólica (Witch’s broom)
2. Bruxas Gêmeas (Twin witches)
3. Congresso Bruxólico (Witch Congress)
4. Velha Bruxa Chefe (Old Chief Witch)
5. Orquestra Selenita Bruxólica (Selenite Witch Orchestra)
6. Balanço Bruxólico (Witch’s Swing)
7. O Estado Fadórico das Bruxas (The fairy state of Witches)
CASCAES, Franklin. The Fantastic on the Island of Santa Catarina, Vol. I. Florianópolis: Ed. Da UFSC, 1989.
—– The Fantastic on Santa Catarina Island, Vol. II. Florianópolis: Ed. Da UFSC, 1992.
Listen to all 7 pieces of Bruxólicas Book I, played by Mauricio Zamith
Bruxólicas Nr. 6