I Have Come on Foot [ensemble]

(2011)

Guitar Piece n.1 [guitar]

(2011)

Placet [ensemble]

(2011)

Ex-Tudo [9 clarinets]

(2010)

Peças Secas [2 percussionists]

(2010)

Gordium [ensemble]

(2009-2010)

Of Fences [harpsichord]

(2010)

Presence [open space]

(2010)

reVeil [piano, percussion, video]

(2009)

Equivocáveis [orchestra]

(2009)

Lai de Bisclavret [sax, perc]

(2008)

Observatory [ensemble]

(2007)

Homo Sacer [fl, ob, cl]

(2006-2007)

Ex-tante [flute, percussion]

(2005)

Oedipus at Colonus [theatre]

(2005)

IV Variações [piano]

(2002)

  

Lai de Bisclavret

Bb Tenor Saxophone

Percussion (Marimba, Resonant Metal, 2 Wood Simantras, 2 Bongos and 2 Tomtoms)

2008 San Diego, CA

duration: ca: 7’30”

Program Notes:

Bisclavret is a tale rewritten by the French writer Marie de France (XII Century). It is the story of a man who for a determined part of the month is transformed in a wolf. The story has interesting turns, and the idea of transition from one state to another was somehow an image I wanted to keep in mind while composing. But this piece is not about the tale. Actually, as any other piece of mine, it does not try to be something else other than itself. One could say maybe the relation of the tale and the piece is the idea of two coexisting identities and the struggle for emergence. When I wrote Lai de Bisclavret, the metamorphosis of two different ways of writing was present: one that was very controlled, as in any system in which the change in one little aspect will result in changes in the whole complex, and the other was related to the idea of suspension of pre-established rules or laws limiting fixed rights. Giorgio Agambem says of the tale: "the transformation into a werewolf corresponds perfectly to the 'state of exception', for a time in which (necessarily limited) the city is dissolved and the men enter an area where they are no longer distinct from beasts." 

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Bisclavret é um conto da escritora francesa Marie de France (século XII). É a história de um homem que por um determinado período do mês é transformado em lobo. O que me interessa deste conto é a temporalidade da metamorfose de homem em lobo, tanto o tempo restrito em que ele permanece como lobo, como o tempo da passagem de um estado para o outro. Giorgio Agambem diz sobre o conto: “a transformação em lobisomem corresponde perfeitamente ao 'estado de exceção', em que durante um tempo (necessariamente limitado) a cidade é dissolvida e os homens entram numa zona em que não são mais distintos das feras”.

Performances:

October 30, 2011 in Rio de Janeiro, Brazil.

Performers:

Tenor Saxophone: Paulo Passos

Percussion: Joaquim Abreu Neto (Zito)

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August 30, 2011 in Melbourne, Australia. Concert “The Boundlessness of the Instant”. The concert was also recorded and will be broadcasted by ABC Classic Music FM. 

Performers:

Tenor Saxophone: Joshua Hyde

Percussion: Anna Camara

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July 29, 2010 at the 45 Internationale Ferienkurse für neue Musik - Darmstadt

Performers:

Tenor Saxophone: Joshua Hyde

Percussion: Yuriko Sekiguchi

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October 27, 2009 at Sala Cecilia Meireles, Rio de Janeiro, Brazil. XVII Bienal de Música Brasileira Contemporânea.

Performers:

Tenor Saxophone: Paulo Passos

Percussion: Joaquim Abreu Neto (Zito)

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January 26, 2009 at UCSD Warren Hall Studio, University of California San Diego – United States

January 27, 2009 at UCSD Erickson Hall, University of California San Diego – United States

Performers:

Tenor Saxophone: Eliot Gattegno

Percussion: Brian Archinal

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