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Four Lights for Shadows

Lousiana State University

Baton Rouge, LA - USA

This piece is a metaphor for the fight between light and shadows. It's resulting from personal experiences. Thus, for me, there's no shadow that remains when exposed to light.
In other words, this piece is about to be completely rebuilt from the light.

Each instrument represents a specific light.
For that reason, each movement features one instrument as a soloist, as if it were their scenes. The following the order was taken:

I - Broken Mirrors [Piano Scene]
II - Transcendence Tears [Cello Scene] III - Revelation [Clarinet Scene]
IV - Eternal Beyond [Flute Scene]

Approximate Length: 10 min.

April, 2019

Reaparições Desfiguras, 2016.

Third place winner in the IV UFRJ National Composition Contest for Symphony Orchestra.

Rio de Janeiro, Brazil

Conductor: Ernani Aguiar

   Reaparições Desfiguradas was specially written for the IV national composition competition of the School of Music of UFRJ.

  The piece translates sensations like anguish, panic and fear narrated in circular movement in the flow of the musical discourse. These sensations were transformed into sound entities employed in specific instrumental groups and/or textures. The recurrence of this units can be perceived with a gestural analysis.

September, 2016

Ex Nihilo Nihil Fit, for woodwinds quintet. 2016

Performed by Terra Nova Winds,

New York, USA

  Ex Nihilo Nihil Fit comes from latin and means: Nothing comes from nothing. In the piece, the ideia is generate all musical discurse components from a small cell. These materials are under evolution in entire piece.

  There’s a particular treatment given to the rhythmic, especially in the second movement. I’m involved with a research that proposes a new approach to the relation between time and space in music.

  It’s important to say the intention was to bring three different and contrasting arrangements for rhythmic configurations in this piece. 

  On the first movement there are two rhythmic atmospheres. One is more peaceful and the other one is confusing, with fast notes. 

  The second movement is completely peaceful. There are big waves of perturbations on the space. 

  The third movement is technically more difficult, but the amount of similar waves of perturbation deliver regularity to it.

June, 2016

Desvariações Pretéritas, 2017

IV Biennal Music Today - Curitiba, Brazil.

Philharmonic Orchestra of Federal University of Paraná

Conductor: Borges-Cunha


  Desvariações Pretéritas was specially composed for the orchestral composition workshop, in the XI Music of Today Biennial, promoted by the Federal University of Paraná.

  The work was planned based on the organizational instances of the Syncretic Thought, object of current research of the author. Two basic units (formally denominated PEC) appear as musical raw material. The work, therefore, is based on two ideas related to the two basic units: to proceed a temporarily expansion of the shorter unit and a temporarily retraction the longer one.

July, 2017

P-Space, for brass quintet, 2015.

XII ENCUN - UNICAMP, São Paulo - Brazil

 VribasSom Quintet

  P-Space comes from an observation in my current research, which seeks to investigate the musical matter and space by the view of syncretic thought. The finding was that: considering all sound phenomena (while metaphysical entity) as a disturbance in space. This statement clarifies that the metaphors of movements, heavily used in musical language.

  Therefore, a number of questions arise. If we throw a pebble in a large pool, for example, with all its contents (imagine the water) completely immobile, there will be waves only in the most superficial layers. But using a large rock, the waves would be higher, the affected layers would be deeper. It happens because, apart from the gravity that attracts all the bodies, and, mechanics involved in the process, every movement in time, in a certain way, is a disturbance in space.

Therefore, P-Space is the product of this analogy, an attempt to evoke questions related to this issue, not answers.

September, 2015

Oito Anjos, 2017

Série Compositores - Federal University of Rio de Janeiro State. Rio de Janeiro, Brazil.

Piano: João Elias Soares

Cello: Hudson Lima


  In October 2017, a terrible tragedy occurred in a small Bralizlian town called Janaúba. A man entered into a day care center and started a fire, making nine letal victims with himself.

Eight were children between 3 and 5 years.

  Eight Angels was born of the deep desire to pay homage to the victims and their families bringing out the sensations that have been awakened in me. Among them: the ingenuity, purity and lightness of a child, as well, solidarity, impotence, sadness and consternation.

  There are eight main notes that run through the whole work, forming two tetracords: (Gb, Ab, Eb, Bb, and, F, G, D, A) Each note represents one infant.

  Children represent the best of our kind, our only chance for a better future. Every crime against them should cause us a deep commotion, with a real change of attitude in the sense of protecting them.

October, 2017

Peace Cell for piano, violin, viola, cello and trombone. 2014.

Composed during artistic Residence in Córdoba - Argentina


  Peace Cell was composed during an artistic residence at the National University of Cordoba, in october – 2014, with Professor Dr. José Halac. This work and the residence was held thanks to the support of Ibermúsicas scholarship.

  The syncretic Thinking is an original approach from Professor Jose Halac’s research. On this piece some of its concepts are being used.

  This piece is about a very personal experience lived in this period. At that time, a treatment against panic disorder was being experienced. There was two unsuccessful attempts to go to Cordoba before the start of the residence. At the end, under great effort and the help of very especial friends, courage and peace was bigger and stronger than the panic disorder and anxiety.

October, 2014

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