Silvio Ferraz : Segundo Responsorio. Bienal Rio 2013. GNU, Marcos Lucas, Kalyne Valente

For violin and live electronics, first performance at Centre Pompidou, Ircam, Paris

Raggi di Stringhe

Angelo Ursini, flauta
Gustavo Bonin, clarinete

Borbulhas (2014) - Angelo Ursini

GIRÁ (2024)
Guilherme RIBEIRO

for:
flute, saxophone, tuba, percussion, piano and electronics.

Ensemble Proxima Centauri

Marie-Bernadette CHARRIER, saxophones
Sylvain MILLEPIED, flûtes
Julien PELLEGRINI, percussion
Hilomi SAKAGUCHI, piano
Pascal Rousseau, tuba

On November 24, 2024 at the Théâtre des Quatre Saisons in Gradignan (Bordeaux), during the MÀD Festival (lefestivalmad.fr).

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GIRÁ [ensemble Proxima Centauri] 2024

Duo Abissal
Thiago Tavares - Clarone
Ricardo Santos - Trombone Baixo

"...um bando de lemures em direção ao abismo..."
Saramago

Moldura V - (2015)

Planos I - Gustavo Bonin (2016)

Violino: Cristiano Scaglioni
Violino: Eva Lemin
Celo: Rodrigo Prado
Técnico: Rodrigo Borges

Trevas Trio (2016)

Performance of partita I, for violoncelo solo, with PIotr Karetnikov. Concert at Scriabin Museum, Moscou

Silvio Ferraz Mello: Partita I, para cello solo, Piotr Karetnikov

Pedro Marques nas poesia
http://www.poesiaamao.com.br/temerosas-decimais/

#1 Super-Vilão da Putaria

Alberto Kanji no Cello
Sarah Hornsby na Flauta
Heri Brandino na Percussão
Horacio Gouveia no Piano

I Concurso Eduardo Álvares de composição da EMESP

Margens Plácidas (2016)

Suspended Feeling - Concerto for percussion and ensemble
Performed by Ensemble Court-Circuit with Rémi Durupt (percussion)and Jean Deroyer (conductor).
Musica Festival, Strasbourg (France), October 6th 2017.

Suspended Feeling - for percussion and ensemble (2017)

Phalanges, for Harp solo (1995) - program notes
The title "Phalanges" refers to the fingers' bones, the very skeleton of the player, the subcutaneous motor skills that underlie the act of playing/touching the strings. Compositionally, there are three main ideas that intersperse in this piece:
1) The ergonomic or motoric one, referring to the way the hands accommodate the technical demands of the instrument; 
2)The Rhythmic ‘sculpting,’ referring to the interaction of complex rhythms and the use of my system of Micro-Metric Modulation, a mathematical way to link very complex rhythms/ratios through common denominators speeds; 
3)The use of extended-techniques dividing the harp into three different sonic regions in which the middle one employs a cloth/paper that mutes the pitches subsequently creating a kind of timbral asymmetry in the sonic presentation of the instrument.
First, the ergonomic aspect: the creation of motives and themes in this piece are a direct result of the very patterns of the player's hands/fingers. New sonic material emerges as a result of the dislocation of the hands throughout the harp. This is accomplished in two ways: a) When the harpist stretches hands widening or contracting the gaps between fingers while maintaining similar fingerings’ patterns - thus, creating small melodic distortions; b) Through the mere pedal- retuning of the strings providing a diverse melodic or harmonic contour for similar hands' patterns; Even if the fingers’ patterns are not “thematically audible,” (since they only refer to the techniques that propel the sounds) they acquire, nevertheless, the status of "articulatory themes" being as important as the audible ones.
Second, using a mathematical way to mediate between two adjacent rhythms through a system I developed called Micro-Metric Modulation. Although complex rhythms can be very demanding to execute it is possible to imagine an effective rhythmic bridge that is common to two adjacent and differing rhythms or ratio configurations. This approach is based on commutative and associative properties and is derived from Elliott Carter’s polyrhythmic ideas, but in a “compressed” way. It is fully developed on my Doctoral Thesis from 1997-8 (Micro Metric Modulation: New Directions in the Theory of Complex Rhythms), although uses of it on my own music are anterior to the thesis itself).
Third, employing a series of devices (paper between strings, tuning fork, constant pedal glissandi, half-pedal “buzz” sounds, etc.) I managed to destabilize the typical way of playing the instrument and the way it is commonly heard. More than seeking mere effects, I was “seeing” the instrument as a sonic (found-)object that could be “subjected” to different types of timbristic and ergonomic demands. Finally, studying the way the instrument behaves under certain rhythmic constraints it was possible to manipulate with similar flexibility pitch and noise (extended-techniques) zones. The theatrical aspect of Phalanges conveys its deep meaning: Navigating between the fingers' technical demands and its almost magic output (the music itself) the harpist questions the public with a bleak and distancing (‘Brechtnian’) look, as if saying, - “...where does music begin? And where it ends...?”
© Arthur Kampela 2014

Phallanges For Harp Solo (Performed live by Anne Bassande Zurich, 1995)

Guilherme Ribeiro, 1994, is a young Brazilian composer. He graduated in composition at the University of São Paulo in 2019, where he is currently developing his Master's research (since 2020) in Creative Processes, Composition and Sonology, under the guidance of Prof. Silvio Ferraz, whose research line is Extended Instrumental Technique in Contemporary Music. Currently, he is a student at the Conservatoire de Strasbourg (France), where he follows Daniel D'Adamo's composition course, as well as Tom Mays' electroacoustics course. Ribeiro's compositions have already been presented in venues such as: Sala Cecília Meireles, Theatro São Pedro, Municipal Theater of São Paulo (Salão Nobre), MAC Ibirapuera, Sesc Paulista, CCSP, Salão Leopoldo Miguez, ESML (Lisbon, Portugal), among others. As a composer, he received national and international awards, such as: XXII Biennial of Contemporary Brazilian Music, XXVIII Panorama of Current Brazilian Music, 25th USP Nascente Program, II Atemporánea Festival (Buenos Aires, Argentina), among others. During his graduation at USP, Ribeiro developed a research under Scientific Initiation (2016-2018), under the supervision of Silvio Ferraz, with a FAPESP grant, entitled: The extended technique as a raw material for musical creation. This research resulted in national and international participation in symposiums, congresses and meetings, such as: 25th SIICUSP (São Paulo), III CESEM International Symposium (Lisbon, Portugal), VIII International Encuentro de Compositores (Santiago, Chile), XXIX ANPPOM Congress ( Pelotas), 5th EnCom (Londrina), 2nd NCMM 2021 (Lisbon, Portugal). As well as resulted in the publication of an article in Revista Vórtex, vol. 5, no. 1 (2017). While still under graduation, in 2017, Ribeiro was selected for a research exchange scholarship (Santander/USP) and developed work at Universidade Nova de Lisboa (FCSH-UNL) under the supervision of Prof. Isabel Pires. At the same time, since 2018, Ribeiro has been publishing the 'dialogues about today's musical creations' on his program DENTREIDEIAS (dentreideias.com), with international projection and performance. Currently, Guilherme Ribeiro lives and works in Strasbourg, France. 

guilhermeribeiro.net