From Q2 Music: “On Signatures, Broken Rhythms and Mutes “
Get to Know the Brazilian-born Composer and New York Philharmonic Commission Recipient
Thursday, December 15, 2011
“I began to write this post only a few minutes after the first rehearsal of my work Fibers, Yarn and Wire with the New York Philharmonic, under the auspices of maestro Alan Gilbert. The rehearsals are taking place in the Grace Rainey Rogers Auditorium at the Metropolitan Museum.
The score to Fibers, Yarn and Wire (Alexandre Lunsqui)
When I began to compose Fibers, Yarn and Wire, two pictures became important sources for ideas. I am quoting myself here: ‘One picture was taken from the architect Peter Vanderpoel’s essay titled Polyrhythms and Architecture and it consists of a large cloth made up of discreet strips woven individually and then assembled side by side to provide the finished garment. The other picture is a colorful staircase in the interior of a Moroccan building. Both pictures show the results of a similar working process: raw material — fiber and pigment — becoming exquisite forms. The outward complexity of these works almost conceals the highly elaborated, meticulous, and somewhat hypnotic handicraft involved. Yet, they immediately resonate as potential models for music making.”
See the rest of the composer’s essay here.