EL CAMPO IMAGINARIO
Namesake of a song by Claudio Vitale and Cristian Vitale, El Campo Imaginario is a piece that depicts a field the lyrical self has never visited and only imagines. The work portrays thought, incorporating subtle reminiscences of a melody from the Argentine folk song “Chacarera del Rancho,” which gradually become clearer until the music can be heard distinctly. A central aspect of the piece is the exploration of the infinite and uncontrollable sonic possibilities in the transition between different flute techniques, as well as their timbral qualities, which are used to create a texture representing the sound of thought.
gallery of remaining sounds
gallery of remaining sounds is a solo piano piece that takes as its starting point the macrostructure of Pictures at an Exhibition by Modest Mussorgsky — a work originally written for piano and later orchestrated by Maurice Ravel. In Mussorgsky’s piece, each movement represents a painting by Viktor Hartmann, interspersed with promenades, short sections symbolizing the observer’s movement between the works in the exhibition. In gallery of remaining sounds, however, there is no separate movement for each “painting.” Instead, we have a single composition where the “paintings” are suggested by chords formed from residual sounds — sounds that remain — between long, monotonous, but also beautiful promenades.
Olo
Olo is a solo flute piece that explores the inherent instability in producing notes with very little air. The performer is expected to execute them as cleanly as possible, although imperfections during the process are inevitable. From these “errors” in performance emerge sonic qualities beyond the performer’s direct control, such as noises, harmonics, and rhythmic variations caused by interruptions in the airflow. The title refers to the color “Olo,” a theoretical hue whose perception was proposed in 2025, when researchers simulated, through selective stimulation of specific retinal cones, the experience of a color that does not exist in the visible spectrum under natural conditions. In this sense, “Olo” represents an impossible color, perceivable only artificially.
ANGÚSTIA E FOLIA
“Angústia e Folia” is a piece using only percussion instruments whose instrumentation is traditionally associated with Brazilian musical practices. It explores the contrast between contraction and expansion through musical gestures: long notes gradually become shorter and more widely spaced, while initially spaced notes progressively come closer together until forming a continuous sound. The title is a wordplay on the scientific name of the araucaria tree — Araucaria angustifolia — native to southern Brazil. From angustifolia emerge the words “angústia” (anguish) and “folia” (revelry).
JIJIVISHA
Premiered on June 1st, 2024, at the Itaici Monastery in Indaiatuba - SP, ‘Jijivisha’ - which means ‘joy of being alive’ in Hindi - is a dodecaphonic piece for solo cello, inspired by traditional Indian music. The series used for the composition of the work was taken from Schoenberg’s ‘Modern Psalms.’
ADAGIO IN D
I have no intention whatsoever of hiding my fascination with perfect fifths and fourths in this piece. Some passages may even be considered ‘off-key’ due to just intonation, but nevertheless, they provide a rich and colorful sound.
CHUVA DE VERÃO
Inspired by Debussy’s musical language, ‘Chuva de Verão,’ which means ‘Summer rain’ in Portuguese, is a genuine exploration of the sounds and effects that the piano can offer, without the need for extravagant performance techniques.