Anomia

The text below serves as program notes for Anomia. It was written by Júlio Machado in response to the piece Anomia. The text, differently from the musical piece, has the title “Anomias”: Anomias by Júlio Machado adapted by Bruno Ruviaro Leve: Um: sumir de si o … em que pela primeira vez foi primavera. Três: após as flores, desordem dos frutos sem o conforto das caixas. Cinco: De hora em hora, insectos soltos, frouxos, no ar. Sete: 14 onças tem meu corpo se preso ao tempo e livre do … Severa: Dois: ou sumir de si o … em que isso foi, no fundo do quintal. Quatro: Estação parada, flowres de flores, nada. Seis: insects forgotten de si, pousados no seco e na lama. Eight: 400 gramas tem um corpo if preso ao … e livre do espaço Chrônic: sumir de si o … em que pela primeira vez foi primavera. or sumir de si o … em que isso foi, no fundo do quintal. after the flores, desordem dos frutos without the comfort das caixas. estação parada, flores de flowers, nothing. de hour em hour, soltos insects, loose, in the air. insects minding their own business, landed on seco and mud. 14 onças has a corpo if preso ao tempo and livre from … . 400 grams has a body if tied to … e free from spaçe

Dois pontos sobre uma linha curva

Short piano piece composed between May and August of 2002 in São Paulo, Brazil

Unspell

Unspell, for voice and electronics, reflects my continuing interest in the musicality of speech. The “pre-text” for the composition is l’Attente (Waiting), by Roland Barthes, from the book Fragments d’un Discours Amoureux (Fragments from a Lover’s Discourse). Careful work on intonation and prosody is complemented by electronic sounds that function at times as accompaniment, at times as rhythmic or timbral counterpoint. Spoken language, to me, is always pregnant with music. I won’t say much more, hoping the piece will speak for itself

Clippings

Clippings is a collection of (so-to-speak) sound poems for voice, flute, and assorted objects. The first three are presented here: I. Whine II. Save my husband III. Crank her Monda

Gedankenfabrik

“Zwar ist’s mit der Gedankenfabrik Wie mit einem Weber-Meisterstück Wo ein tritt tausend Fäden regt Die Schifflein herüber hinüber schiessen Die Fäden ungesehen fliessen Ein Schlag tausend Verbindungen schlägt.” [excerpt of Urfaust, by Goethe] “A verdade é que a fábrica de pensamentos É tal qual o ofício do tecelão, Em que um passo move milhares de fios, As navetas cruzam de um lado a outro, Os fios deslizam sem serem vistos E mil nós se formam de uma só vez.” [excerto de Fausto Zero, de Goethe. Tradução de Christine Röhrig

Drei, Dai, Dry

Viola, violoncello and percussion. [ca. 11’00

Sete Vazios

Piano solo

Seven infinitely short periods of (winter) time

The piece “Seven infinitely short periods of (Winter) time” was composed in 2002 during my first Winter in the United States. It was my first Winter with snow (lots of snow, by the way; I was living in New Hampshire). The experience of below-freezing temperatures was something completely unfamiliar to me, accustomed as I was to the other side of the thermometer, the “above-melting” temperatures from Brazil. The names for each of the movements are merely insinuated on the score (they appear at the end of the last page of each movement: Musification, Old Tune, Basement, Wilting, What??, Snow Down, Final Basement). These names reflect to some extent the original connection of each piece with a place, a situation, a musical process, present or past