This work takes its artistic impetus from the last writings of three South American female poets who took their own lives: Violeta Parra (1917-1967) from Chile, Alfonsina Storni (1892-1938) from Argentina and Ana Cristina Cesar (1952-1983) from Brazil. 
I have become increasingly interested in exploring my culture as the root of my artistic personality and the source of my inspiration. I felt inspired by the poetry of fellow South American women and especially compassionate by the last writings of those who committed suicide. I began exploring this poetry in my pieces Alejandra (2011) and Dejate Caer (2012), both inspired by Argentinean poet Alejandra Pizarnik. 
Virginia Woolf’s suicide letter to her husband sparked my interest in the suicides of female artists. I couldn’t help but feel compassion for somebody suffering so much that it would lead to this final, fatal decision. I feel emotionally compelled to explore the cultural and gender attachments of these figures, and examine how their art acts as a reflection of these intense emotions. Empathy through art can be a strong mechanism to develop our understanding of one another, I aimed to explore these writings as an attempt to remember and embrace these artists in their suffering, to honor their cultures, lives, and art; and to raise awareness about these powerful internal struggles.
I begin my research in May 2015, traveling to Santiago de Chile, Mar del Plata in Argentina and Rio de Janeiro in Brazil where I conducted interviews with relevant figures and scholars that illuminated my understanding of these poets’ lives, ouvre and moral identities. I most importantly, gathered audio material that served as a primary source for the electronic elements involved in the piece. Among others, you will hear Violeta Parra’s own Quatro Venezolano (small guitar with four strings) in the first movement, the sound of the sea and the wind from Mar del Plata, home city of Alfonsina Storni in the second movement, and an archival recording of Ana Cristina Cesar reciting one of her poems in the third movement.

Performers: JACK Quartet

Recorded live at Stamps Auditorium, the University of Michigan on March 8, 2016.  

Electronics Tech: Daphna Raz
Recording: Leith Campbell
Cover Photo: Natali Herrero Pacheco

This piece was made possible by a grant from the Fromm Music Foundation

II. Alfonsina

PENDULAR (Homenaje a Claude Debussy) (2018)
 Para violín y piano. (13’ ca)

Obra compuesta en el año 2018. Respondió a un encargo del dúo MANOS A LAS OBRAS, integrado por Haydée Schvartz en piano y Elías Gurevich en violín, para el concierto final de la 10ª temporada de conciertos en Radio Nacional Clásica de Argentina de Manos a las Obras, dedicado a los 100 años de la muerte de Claude Debussy.
Registro en vivo: 17 de Noviembre 2018, Auditorio de Radio Nacional, Buenos Aires, Argentina.
Intérpretes: Haydée Schvartz (piano), Elías Gurevich (violín)


PENDULAR (Tribute to Claude Debussy) (2018)
 For violin and piano. (13 'ca)

Work composed in the year 2018. Responded to an commitment from the duo MANOS A LAS OBRAS, integrated by Haydée Schvartz on piano and Elías Gurevich on violin, for the final concert of the 10th season of concerts at Radio Nacional Clásica in Argentina from Manos a las Obras, dedicated to the 100th anniversary of the death of Claude Debussy.

Live record: November 17, 2018, National Radio Auditorium, Buenos Aires, Argentina.
Performers: Haydée Schvartz (piano), Elías Gurevich (violin)

PENDULAR (Homenaje a Claude Debussy) (2018)

First track from Kind Decade EP by Bels Lontano. Like on HypeM! <3
https://hypem.com/track/2tjwm/Bels+Lontano+-+Florid+entanglements
Lyrics below >>>>

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contact: belslontano@gmail.com

It went all according to plan
We went after the wrong man
And we were so confused
By the way we were abused
And it's not easy to see
When what you love is the love 
For the power of money

Come and come one all
If we can't carry on
They have turned ourselves 
Against our own selves

And you say you can't be loved
Every one can be loved

Florid Entanglements

composed by me, dedicated to my composition professor Dr. Felder,
performed by me on organ; Zane Merritt, assistant; Mike Serio, piano at normal pitch; Ben Havey, harpsichord at normal pitch, Nick Emmanuel, quarter-tone flat piano; Eric Huebner, quarter-tone flat harpsichord; Tom Kolor, vibraphone with motor; Steve Lattimore, vibraphone; Daniel Bassin, conductor at Lippes Concert Hall in Slee Hall at University at Buffalo, Sept.9th 2019
Die Radikalen Tasten (2019) concerto for organ with keyboard ensemble, incorporated quotations and built its harmonic structure from a South Korean protest song "Marching for Our Beloved", but worked in microtonality. I became fascinated by the 'detuned' like effect produced on the organ when its stops are pulled slowly. Also, certain combinations of stops with the tremolo feature create an 'electronic' like timbre (which you wouldn't expect from conventional organ music) with the reinforcement of harpsichord & vibraphone and extended techniques on piano.

Die Radikalen Tasten (2019) Concerto for Organ with Keyboard Ensemble

A work for Bb clarinet and electronics. Find more info at www.bretbohman.com

Tides (2019) for Bb clarinet and electronics. Composed by Bret Bohman. Performed by Yoshiaki Onishi.

✨Written, produced, and performed by Faerie the Kid ✨
🌜Vocal comping by Josh Frigo🌛
🌞Mixed by Yianni AP🌞
☏ Cover Art by Casey Claros ☏

LYRICS:
Fools once tried to lasso the sun and
Oh what a shame that it couldn't be done and
When the rope fell back to the earth
It left scorch marks in the dirt
Now the fools have fire and a burning desire
To build an empire and connect us through the wires
So they wrap the world in sunburnt ropes
And from this New Earth the Telephone rose

I fall asleep holding the Telephone
Just so that I don't have to feel alone
This plastic world makes me feel right at home
I'll live and die holding the Telephone

I forget everything I've spoke 
Soon as the words leave my throat and 
The Telephone feeds me lines until I choke
Then he laughs like it's a joke
Now there's wires in my veins (Oh no)
Heart is beating in morse code
Eyes reflect the electric glow
Aren't you scared we'll overload?

I fall asleep holding the Telephone
Just so that I don't have to feel alone
This plastic world makes me feel right at home
I'll live and die holding the Telephone

They call, but they don't call me
They talk but I'm just listening
They call, but they don't call me
They call, but they don't call me
They talk but I'm just listening and
They call, but they don't call me

I fall asleep holding the Telephone
Just so that I don't have to feel alone
This plastic world makes me feel right at home
I'll live and die holding the
I'll live and die

They call, but they don't call me
They talk but I'm just listening
They call, but they don't call me
They call, but they don't call me
They talk but I'm just listening 
They call, but they don't call me

Telephone

"I don't love you too"
Written and performed by Faerie the Kid
This is a song I wrote about losing your sense of control in a relationship, romantic or platonic. When things begin to fall apart you cling to anything you can, even if you know that's not what you truly want. At a certain point you are holding onto something that doesn't exist any more except in your mind. 

LYRICS:
Please, don't say it loud
'Cause two feels like a crowd right now.
Please don't go and start a war
but don't leave me ignored
What would you say it for?

I know you don't love me anymore.

Why do I ask if you love me?
when I don't love you too?
Why do I ask if you think I'm pretty?
Shouldn't need to hear it from you.
And loving isn't easy, that's the honest truth.
So why isn't it easy to let go you? 
Say "I don't love you too"?

I know you don't love me anymore.
Well I don't love you too.

The words we don't speak hang like cobwebs in between
separate sides of the same couch
Separate lives in the same house
There's no more butterflies, now they're moths
we're too stale, let's call it off
But we're too scared to say we've had enough
But I've had enough

Why do I ask if you love me?
when I don't love you too?
Why do I ask if you think I'm pretty?
Shouldn't need to hear it from you.
And loving isn't easy, that's the honest truth.
So why isn't it easy to let go you? 
Say "I don't love you too"?

I know you don't love me anymore.
Well I don't love you too.

If I wore my heart on my sleeve
you'd think I'm a total creep
Like I watch you while you sleep
Like I see you in my dreams
With my heart on my sleeve
maybe you would never leave
just 'cause I dream of you doesn't mean my dreams are sweet

Why do I ask if you love me?
when I don't love you too?
Why do I ask if you think I'm pretty?
Shouldn't need to hear it from you.
And loving isn't easy, that's the honest truth.
So why isn't it easy to let go you? 
Say "I don't love you too"?

I know you don't love me anymore.
Well I don't love you too.
What did you say it for??

I don't love you too!!!

Goldberg Variations in Self-Isolation - Aria

Horidraa 0: Original composition for Ananya Dance Theater's 2016 world premier.

Horidraa 0

Dejate Caer For Violin and Fixed Media (2012)

1. Luz e Sombra (Arranjos - Gilson Fukushima)
2. Málaga (Arranjos - Gabriel Schwartz)
3. Triskle (Arranjos - Santiago Beis)
4. Sevillanas (Arranjos - Gilson Peranzzetta)
5. Ensueño (Arranjos - Glauco Solter)
6. Alegrias (Arranjos - Santiago Beis)
7. Fênix (Arranjos - Sérgio Albach)

Regência; Sérgio Albach
Todas as músicas são de autoria de Murillo Da Rós.
Gravado no Centro Espanhol do Paraná. Mixado e Masterizado no estúdio Clinica Pro Music por Murillo Da Rós e Sérgio Albach. 
Produção de Vídeo - Reinaldo Miura

Músicos
Murillo Da Rós: Violão
Glauco Solter: Baixo
Luciano Madalozzo: Percussão

Orquestra à Base de Sopro de Curitiba (OABS)
Aloísio de Pádua: Sax Barítono
Bruno Brandalise: Tuba
Clayton Rodrigues da Silva: Flauta Transversal
Davi Sartori: Piano
Douglas Chiullo: Trompete
Mário Conde: Guitarra
Otávio Augusto Chagas da Silva: Clarineta
Ozeias Costa: Trompete
Rodrigo Vicaria: Trombone
Sebastião Interlandi Junior: Flauta Transversal
Sérgio Albach: Clarone e Regência
Sérgio Monteiro Freire: Sax Soprano
Gabriel Castro: Sax Tenor

Arranjos
Gilson Fukushima (Arranjos Luz e Sombra)
Gabriel Schwartz (Arranjos Málaga)
Santiago Beis (Arranjos Triskle e Alegrias)
Glauco Solter: (Arranjos Ensueño)
Gilson Peranzzetta (Arranjos Sevillanas)
Sérgio Albach (Arranjos Triskle)

Agradecimentos
Grupo Positivo, Sauí Gestão de Patrocínios, Centro Espanhol do Paraná, Orquestra à Base de Sopro de Curitiba, ICAC, Fundação Cultural de Curitiba e Lei do Incentivo.  Aurélio Baggio, Blanca Hernando Barco, Sérgio Albach, Luciano Madalozzo, Glauco Solter, Gilson Peranzzetta, Santiago Beis, Gilson Fukushima, Gabriel Schwartz, Renata Candelot, Maria Rafaela Luísa Candelot Da Rós, Alexis Morozowscki, Reinaldo Miura, Paulo Bettega, nossas famílias e amigos.

Projeto realizado com recursos do programa de apoio e incentivo à cultura - Fundação Cultural de Curitiba e da Prefeitura Municipal de Curitiba
Incentivador: Colégio Positivo

Alegrias

Argentinian composer and multimedia artist based in L.A.

II. Alfonsina

Carolina Heredia composer

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Franck Douvin | Composer

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