Muito bacana, tanto a peça quanto a interpretação.

***Please use your fanciest audio equipment*** 

- 1st Prize at the Iannis Xenakis International Electronic Music Competition (2021) form the Contemporary Music Lab 

The intention behind this piece is mainly to construct a discourse distanced from the elements that are traditionally explored in electroacoustic music, eg. texture and timbre. While these elements are undoubtedly present in the piece, it is first and foremost the rhythmic impetus — working around an unstable pulsation — its energy, as well as the imagery and the dramaturgy of the work that is highlighted. 

I have worked exclusively with a collection of sounds from my personal library as well as sounds that have been recuperated online (sort of objets trouvés), like a depository where I drew the parts that were best suited; hence the title “Junkyard Construction”. 
This comes from an interest to work with fairly limited resources (concerning equipment), which is also why it’s a stereophonic piece.
   
“Why stop the swing?” refers not only to the rhythmic content, but also to the swaying of unstable images that are being constantly re-contextualised, progressively detaching and revealing themselves as the inner drama unfolds.

Junkyard Construction: Why stop the swing?

Obra para coro misto a capella.

Regente: Stefan Claas
Coro: Kammerchor Ars Antiqua Aschafenburg

Dos Salmos (1999)

Durante a Segunda Guerra Mundial, a rede de apoio a refugiados ligada à Cruz Vermelha Internacional criou um código com comunidades progressistas a deixarem velas nas janelas para que os refugiados(as), que foram também avisados, pudessem encontrar abrigo em suas fugas do fascismo. Muitos diplomatas, agentes de paz, pracinhas, e futuros cidadãos Brasileiros, e do mundo todo, tiveram suas vidas salvas desta forma. 
   O "Poema Eletroacústico para Refúgios de Guerra Vela a Janela" busca, através da escultura espectral acusmática harmônica em software livre  ecoa à cantata dos sobreviventes de guerra "Il Canto Sospeso" de Luigi Nono, somada a cânticos de lamento e esperança que relembram a  "Sinfonia Terceira das Canções Tristes" dos desaparecidos de guerra de Henryk Górecki, honrar esta chama de solidariedade e defesa dos direitos humanos num momento de meditação através da escuta compassiva.

PARTITURA:
00min00seg: Com as cadeiras organizadas em círculo, apagar em lentamente todas as luzes enquanto se lê o programa da peça.
04min33seg: Acender uma vela branca sobre um cálice no centro do círculo e iniciar a composição.
22min14seg: Caso haja vontade dos produtores e  ativistas de direitos humanos dispostos a falarem, eles podem fazê-lo por 8min08seg. Uma possibilidade é ler os 111 Nomes dos Massacrados do Carandirú. 
33min09seg: Alguém entoa o lema da Anistia Internacional “Cada Pequena Vela Acende um Canto Sombrio”.
Ao Final da Peça: Se possível, após 00min43seg, toquem a canção “Manifestação” da Anistia Internacional.

Poema Eletroacústico Para Refúgios De Guerra Vela Na Janela

ORDEM & PROGRESSO (2003-04) is scored for amplified string quartet and punk drummer. The essential aesthetic here is punk, skinhead or oi! music. The piece is a presentation of short 'anthem-like' wordless songs to each state of Brazil respectively (26 states + 1 Federal District (Brasília), 27 flags in total). The Brazilian motto, 'Ordem e Progresso' comes from Auguste Comte's motto of positivism, which was a very popular philosophical stream in Brazil by the end of the 19th century: 'L'amour pour principe et l'ordre pour base; le progrès pour but' (Love as a principle and order as the basis; progress as the goal). 
ORDEM & PROGRESSO strives to get 'order' from 'chaos', and from 'chaos' into 'order'. 


World-premiere 27 NOV 2015 
by APARTMENT HOUSE
Huddersfield Contemporary Music Festival 
(Bates Mill Blending Shed, Huddersfield, UK)


APARTMENT HOUSE: 
Gordon Mackay, violin 
Hilary Sturt, violin 
Bridget Carey, viola 
Anton Lukoszevieze, cello 
Simon Limbrick, drums 





ORDEM & PROGRESSO

Gravação feita por Luciane Cardassi em fevereiro de 2016 no estúdio do Banff Center, em Banff, Canadá. Mixada no estúdio do Conservatório de Música de Seia, em Seia, Portugal.

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www.lucianecardassi.com

“Não se trata o granito com uma cólera infantil”, escreve Gaston Bachelard. Há um tempo do granito, um tempo da dureza das pedras. O tempo ativo de um trabalho que se dialetiza no esforço do trabalhador e na resistência da pedra. Só quem frequenta a pedra pode aprender o seu tempo, sua dicção impessoal e sem ênfase, sua moral fria, sua poética concreta, sua economia compacta. Nada disso sabem os reis cujos nomes lemos nos livros. Nas pedras da Tebas das sete portas, só resiste a memória das mãos daqueles que as trabalharam.

Retomando questões poéticas de meu trio “resto do incêndio” (2013), “memorial do granito” investiga uma dialética não-narrativa entre os modos de atuação dos elementos terra e ar, sugerida em diversos níveis: a solidez do gesto instrumental contraposta à qualidade incorpórea dos sons eletrônicos; o confronto entre gestualidades específicas e regiões frequenciais distintas e o jogo entre interrupções abruptas e conexões fluidas."

memorial do granito (2015), para piano e eletrônica

Peça que compus para o NMEchá, evento de degustação de chás para o qual cada convidado compõe uma peça para um chá.
A última edição do NMEchá foi apresentada no dia 11 de dezembro de 2016 no Estudiofitacrepe-sp ateliê de som e movimento! O álbum conta com obras de Flora Holderbaum, Alessa, Felipe Merker Castellani e Manuel Pessoa, Caio Kenji, Daniel Puig, Renata Roman, Gustavo Branco e Ricardo Garcia. O projeto contou com curadoria de chás da Carol Almirón e seu projeto Tao Tearapy. 
Disponível para download no bandcamp: https://nmelindo.bandcamp.com/album/nmech-das5

Chea - Chá de 'Passi.flora' para o NME Chá (dez, 2016)

Performance-Composição apresentada no Festival Música Estranha 2016

Flora Holderbaum Violino, voz, tape e pedal loop, concepção sonora
Leila Monségur Clarinete, voz, criação e manipulação de video, retroprojetor e slide, concepção visual
Captação de vídeo Marcello Vitorino
Captação de áudio Flora Holderbaum e Martin Herraiz
Edição, mixagem de áudio Flora Holderbaum
Edição de vídeo e finalização Leila Monségur

Foto: Rômulo Alexis
Produção Membrana Experimental Fiat Lux

Miss Sound System - Leila Monségur e Flora Holderbaum - Festival Música Estranha

Pour piano et ensemble.
Créé par l'ensemble intercontemporain et dirigée par Simon Proust.

- Grand Prize from the Ise-Shima Art Committee, Japan (2021) 
- First Prize at the Martirano Award Competition, USA (2021)
- First Prize at the New Classics International Composition Competition, Russia (2020)
- Honorable Mention at the Luigi Nono Composition Competition, Italy (2020)

"For this piece I have chosen a title that in all evidence derives from the pictural world. Smudges over dripping ink suited the poetic image that guided me throughout the composition process. The choice of an english title, a language with which I entertain a rather conflicting rapport, seamed  equally pertinent for its capacity to condense in a few words the intentions of this piece. Smudge is in fact a words that does not find its equivalent with ease in either of the languages with which I am familiarised. 

The present work has not been conceived as a concerto but rather as a piece where the piano has a central role, from which the music flows and drips ; analogue to a plastic artist who composes his canvas in time. The ensemble is therefore subordinate to the piano, is dependent to its propositions, gestures and whims. 

He (or it) proposes one note, as one would cast a drop of ink that collapses in the emptiness of the canvas. She is then blurred, smudged and transformed until inevitably losing its initial aspect and becoming nothing more than a blemish: an awkwardly delicate stain. Once dried, more ink would be thrown, this time dripping and effusing in all its fluidity, like a fragile and childish swaying that oddly resembles a music box. The flow of ink pursues, randomly and minutely, insinuating candid and playful images. It will not take long to brush it away until it's blurred, or even erased. And finally, as if displeased with the result, one throws one last sauvage burst of ink on the totality of the canvas until it's entirely covered…

The piece is conceived in one continuous mouvement, constituted of short sceneries, like “windows” that reflect the variations and transformations of the ink, its different mouvements, flows, its smudges."

Simon Proust(conductor, Sophie Cherrier (flute), Martin Adàmek (bass clarinet), Nicolas Arsenijevic (saxophone), Lucas Lipari-Mayer (trompet), Hidéki Nagano (piano), Hae-Sun Kang (violin), John Stultz (viola), Pierre Strauch (cello), Sulivan Loiseau (double bass)

Smudges over dripping ink

Tranças

Emptying the body - by Fernanda Aoki Navarro
for amplified violoncello
Performed by Derek Stein
Live recording of the concert at UC San Diego, Nov. 30, 2012
Part of the project Gnarwhallaby 4x4.

video of another performance: https://www.youtube.com/watch?v=d-bzVqVA-Pg
______________________________________________________________________________________

Emptying the body is a reflex of my research about the manipulation of time and the relationship between movement, physicality, abstract and concrete gestures.  The idea of giving the cello the power of reaction and decision (instead of being solely the object manipulated by the performer) was in my mind, and many of the performer’s activity is a response to the cello’s reaction. The idea of emptying the body was, somehow, related to the struggle of trying to find something inside or beyond the body, that could not be observed by its exterior, by its completeness, but only by cutting it, analyzing the fragments, emptying its content and trying to rebuild it departing from this experience.

Emptying the body

This composition was born out of a metaphorical idea: what if the rough, hard, noisy sounds that I had just recorded from instruments made out of wood—such as the cello and the acoustic bass—would represent reminiscent screamings of dead trees (as if the instrument’s woods had preserved the memories of the trees they were made of). 
That idea must have come from the life-changer book I was reading at that time  “The Falling Sky: Words of a Yanomami Shaman” in which the author interviews one of the nowadays most important indigenous leaders. It has been a transforming experience reading it, especially in a moment that several indigenous groups and the Amazon forest itself are being attacked in my home country, Brazil. 

After going a little deeper into this metaphor, I realized how intrinsically connected are the history of music and trees. All western music tradition is somehow dependent on wood, not only for producing instruments (wood, strings, percussion) but also for preserving and enabling its language development through the use of paper (scores). Consequently, trees have been providing us two of the most important things we need to survive: oxygen and music.

All sounds contained in the piece are tree-related. Birds, as Yanomami puts, are tree’s inseparable companions. There are several sounds of closing of books, page turnings, instruments made of wood, and some instrumental gestures allusive of falling trees (or screaming trees) to reinforce this dialectical situation.

memorial do granito (2015), para piano e eletrônica

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