Brevíssimo Inventário
Clarineta: Marcos Passos
Violão: Maria Haro
XX BIENAL DE MÚSICA BRASILEIRA CONTEMPORÂNEA
SALÃO LEOPOLDO MIGUEZ
Escola de Música da Universidade Federal do Rio de Janeiro
2 de outubro de 2013 – quarta-feira, 19h

Brevíssimo Inventário, for Clarinet and Guitar, presents a compositional treatment which characteristic is the fragmentation of motivic ideas that develop in a way where the two parts have the same importance. Their dialogue reflects the "disconnectivity" of the contemporary living, while one is so close, is, at the same time, so far. Despite of the immediate hearing and seeing, deaf and blind. The texture, despite its disconnection, is continuous and organized. Work composed as a posthumous hommage to my deceased brother.

Brevíssimo inventário, para clarineta e violão, apresenta um tratamento composicional cuja característica é a fragmentação de idéias motívicas, que se desenvolvem de um modo onde os dois protagonistas têm a mesma importância, mas cujo diálogo reflete um pouco a desconectividade do viver contemporânceo, apesar de próximos, distantes. Apesar do ouvir e ver imediatos, surdos e cegos. O tecido desenvolvido é contínuo e organizado, contudo. Obra composta em póstuma homenagem a um irmão falecido.

Brevíssimo Inventário

Obra para violino solo e orquestra sinfônica composta para celebrar os 50 anos do Movimento Armorial proposto por Ariano Suassuna em 1969/70, em Recife. Sua composição teve início em 2021 mas só teve sua conclusão em 2023.

Saudade Imensa - Pedras e Ventania - Movimento Armorial para Violino e Orquestra

A song cycle for Tenor Voice, Basson, Violoncello, Marimba and Piano.
World Premiere: XXI Bienal de Música Brasileira Contemporânea, October 15h, 2015.
Tenor Voice: Alberto Pacheco
Basson: Débora Nascimento
Violoncello: Luciano Corrêa
Marimba: Paraguassú Abraão
Piano: Tamara Ujakova

I. Antídoto; II. Noites e Rosas; III Distância

Poetry by Alfredo Barros

- Antídoto

Atravessa a tempestade!
Ó voz que a ti possuo!
Qual trovões és vaga a me carregar... 
 
Na vastidão, és fogo e ar que me acendes,
Como montes e águas, a outros lados me ascendes. 
Jamais sentidos, cores jamais vistas.

Ao calor vejo-me vendo-te tal maldade: ansiedade de outrora.
Ao frio desço-me ao gélido ar às suas costas, 
Como um mal que a ela fui trazido e que não notara.
 
Suave como dor suave e bondade incontida,
À ela tão vis qual má que me havia sido, 
Silenciava-me, aniquilava-se, debatia-me.

Traindo-a, vejo-a a não mais ver,
Tempo não há em que vida alguma possa ter, 
Cores não há em que possa jamais ser.

Entre o gélido e o cálido tudo é silêncio. 

- Noites e Rosas

Um gesto calado…
Outro, terno e meigo…

– Trazes-me
Breves noturnos,
Olores exando
Nos próximos jardins

– Sons antigos?
Límpidos instantes
Em fim de noites
Sem regresso.

– Claro!
São belos, eu sei.
Noites, vejo-as como as rosas:
Personificam-se.

– Poderia
Tê-las premeditado
Sem antes conceber-te 
Como és?

Um gesto único...


 Distância


Distância não nos espera
Saudade, deveras, talvez!
Serás água encantada
Ao mar que à hora serei!

Vejo-te a alma n’água serena
Em oceanos onde mar algum te coube 
Haver-te em mim, água cristalina!
Leva-me à fonte: viver eu nunca soube!

Tamanho vazio não nos cabe
Turvam-se em lágrimas as negras nuvens
E, à chuva tempestade, tudo é brado, tudo ruge!

Ser em ti o espaço pleno
E se ao longe, tua face à mente se revelar
Serei todo oceano onde teu mar vem transbordar.

Recorded by Alfredo Barros

Antídoto

Trails by a River, by Alfredo Barros, 2007. Filarmônica de Minas Gerais, Marcos Arakaki, conductor. June 2011

Trails by a River, for Large Orchestra

Reflected Sight for Flute and Piano, by Alfredo Barros, 2004. Andrea Ernst Dias, Flauta; Tatiana Dumas, Piano. XVIII Bienal de Música Brasileira Contemporânea, 2009.

Reflected Sight refers to some extent to a dream I had. Some people believe in the extrasensory potentiality of dreams. Despite having never had any such experience, I kind of pretended this one to be one of them. The general idea in the dream was that I was not in my physical body, but rather seeing it from a close distance, and how I felt about it. The music doesn’t even try to explain that imagery through sounds, but rather uses it as a source of spiritual motivation to convey some impressions of the complex feelings and ideas involved.

Reflected Sight for Flute and Piano

Upa, Neguinho! By Edu Lobo. Arrangement for saxophone quartet, by Alfredo Barros. Quarteto Minassax. 1995. CD Minassax.

Upa, Neguinho! Arranjo para quarteto de saxofones

Milagres do povo - Orquestra, coro e solista, by Alfredo Barros.
Projeto Sala de Concertos.
Orquestra Sinfônica da UFBA, Madrigal da UFBA e Caetano Veloso. Teatro Castro Alves, 6 de dezembro de 1993. Obra de autoria de Caetano Veloso. Arranjo encomendado pela Escola de Música da UFBA.


Milagres do Povo, arrangement for Orchestra, Choir, and Soloist

Vatapá e Requebre que eu dou um Doce, by Dorival Caymmi. Arrangement for saxophone quartet, by Alfredo Barros. Quarteto Minassax. 1995. CD Minassax.


Vatapá e Requebre que Eu Dou um Doce, para Quarteto de Saxophones

Music for Ballet. Ears, Eyes and Feet 2007 Concert. Austin, Texas - Electronic and Sampled Sounds

Côco

Music for Ballet - Ears Concert 2006 - Austin, Texas

Triptic 1

Music fo Ballet - Ears 2006 Concert - Austin, Texas

Triptic 2

Horizonte Convexo is made entirely of still drum samples and one trill of a Brazilian stringed instrument called cavaquinho. One of the piece’s main characteristics is the building up of small gestures of intense and elaborate activity against another ones of a more pitched content, which at many times, evolve from and to such gestures. The piece is roughly divided into two bigger outer sections articulated by two smaller inner ones. Silence plays an important whole on this process over the entire work. I’ve used programs such as Cubase SX 3.0 and plug-ins, Sony Sound Forge, and others to processing the original samples.

Horizonte Convexo

Dies in Urbe,  Four channel audio playback

Dies in Urbe is a fantasia. Its source materials vary from recorded sound of the streets, and public spaces such as religious temples, malls, gardens, etc., to pure electronic sounds produced through Csound and Max/Msp. It is conceived as a layering and juxtaposing of differently processed textures that evolves into a fairly broad spectral range and then subsides into a narrow spectra through a transitional texture carried out by a chant like multilayered pray. Finally, the narrative is brought into a more dense texture that is organized as alternations of gestures of contrasting features.


Dies in Urbe

Alfredo Barros was born in Teresinha – PE, Brazil in 1966. He took his bachelor degree in music/composition and conducting at the Federal University of Bahia [UFBA] (1993) and his MA in composition at the Federal University of Rio de Janeiro [UFRJ] (1996). He has composed in several genres, from vocal to electroacoustic, and received awards in the following contests: 3rd prize in the V National Composition Competition, which took place during the 9th International Music Seminars at UFBA (1991; 2nd prize in the 20th Composers Forum of the State of Bahia (1990); 1st prize in the 2nd Psychopharmacon Choral Composition Competition (São Paulo, 1990); and 1st prize in the “19th Composers Forum of the State of Bahia” and 2nd Prize at Tinta Fresca Composition Contest (2010), promoted by Philharmonic Orchestra of Minas Gerais State.
Other activities include: Associate Coordinator in the 11th Biennial of Brazilian Contemporary Music (Rio de Janeiro, 1995); conductor of the New Music Ensemble of UFRJ (1995); since 1998 he teaches composition at State University of Ceará, and conducts this University’s Symphony Orchestra. His works have been played throughout Brazil and abroad, and have been recorded by Tons & Sons, Equatorial, Minassax, Quiet Design Records and published through Academia Brasileira de Música, Universidade Federal da Bahia, and The University of Texas. Hi is an ASCAP member since 2007. In 2007, Barros graduated for his DMA degree in music composition with emphasis in electronic music at The Universtity of Texas at Austin where he has studied with Dan Welcher, Russell Pinkston, Kevin Puts, Donald Grantham, and Bruce Pennycook.

Alfredo Barros

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