{"id":879,"date":"2020-06-13T23:59:04","date_gmt":"2020-06-13T23:59:04","guid":{"rendered":"http:\/\/jonathandeoliveira.com\/?page_id=879"},"modified":"2022-02-26T03:58:48","modified_gmt":"2022-02-26T03:58:48","slug":"watch","status":"publish","type":"page","link":"https:\/\/jonathandeoliveira.com\/pt\/watch\/","title":{"rendered":"V\u00eddeos"},"content":{"rendered":"
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In This Light without Air, Elegy for Czes\u0142awa Kwoka<\/i> (2021), by Paulo Guicheney <\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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In this Light without Air, Elegy for Czes\u0142awa Kwoka<\/i><\/strong>, by Paulo Guicheney, is a reaction to the horrors of World War II. It was commissioned for this recital and was inspired by a picture of a fourteen-year-old Polish Catholic girl, Czes\u0142awa Kwoka, who was killed at Auschwitz. Her bruised lip and hastily dried tears are the result of being beaten simply for not understanding instructions in German.<\/span><\/p>

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In This Light without Air, Elegy for Czes\u0142awa Kwoka<\/i> (2021),
by Paulo Guicheney <\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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In this Light without Air, Elegy for Czes\u0142awa Kwoka<\/i><\/span>, by Paulo Guicheney, is a reaction to the horrors of World War II. It was commissioned for this recital and was inspired by a picture of a fourteen-year-old Polish Catholic girl, Czes\u0142awa Kwoka, who was killed at Auschwitz. Her bruised lip and hastily dried tears are the result of being beaten simply for not understanding instructions in German.<\/span><\/p>

\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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Selections from Preludes <\/i> (1946-1989), by Claudio Santoro<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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\r\n\t\t\t\tClaudio Santoro composed his Preludes<\/i><\/strong> throughout his career, which can be divided into three main phases. The first is a serialist phase (1946-1950), the result of studying with the German composer Hans-Joachim Koellreutter. During his second phase, he opted for a nationalist aesthetic, only to return to serialism later in life. These selections represent his serialist phases.<\/span>\n

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Selections from Preludes <\/i> (1946-1989), by Claudio Santoro<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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\r\n\t\t\t\tClaudio Santoro composed his Preludes<\/i><\/strong> throughout his career, which can be divided into three main phases. The first is a serialist phase (1946-1950), the result of studying with the German composer Hans-Joachim Koellreutter. During his second phase, he opted for a nationalist aesthetic, only to return to serialism later in life. These selections represent his serialist phases.<\/span>\n

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Post-Modern Homages, Set I <\/i>(1985-87), by Stephen Hartke - Premiere of \"II Retumbante\"
and
Estudo-Scherzo<\/i> in Bb minor(1902), by Henrique Oswald<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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While the first piece in Stephen Hartke’s Post-Modern Homages, Set I<\/em><\/b>, “Sonatina-Fantasia,” uses the opening of George Rochberg’s first String Quartet<\/em>, the second is inspired by the word “Retumbante,” from the Brazilian National Anthem, and the third uses Henrique Oswald’s Estudo-Scherzo<\/i>\u00a0in Bb minor as a “Template.” Hartke requests that the etude be played following the set for full effect.<\/span><\/p>

\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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Post-Modern Homages, Set I <\/i>(1985-87), by Stephen Hartke,
Premiere of \"II Retumbante,\"
and
Estudo-Scherzo<\/i> in Bb minor (1902), by Henrique Oswald<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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While the first piece in Stephen Hartke’s Post-Modern Homages, Set I<\/em><\/b>, “Sonatina-Fantasia,” uses the opening of George Rochberg’s first String Quartet<\/em>, the second is inspired by the word “Retumbante,” from the Brazilian National Anthem, and the third uses Henrique Oswald’s Estudo-Scherzo<\/i>\u00a0in Bb minor as a “Template.” Hartke requests that the etude be played following the set for full effect.<\/span><\/p>

\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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Six Bagatelles, Op. 126, No. 3<\/i> (1824), by Ludwig van Beethoven<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Written between 1801 and 1825, few of Beethoven’s Bagatelles are ever performed in recitals. Between solemn, slow pieces and fast, virtuosistic ones, Beethoven’s Bagatelles offer a glimpse of the changes in the composer’s style throughout his career. This Andante<\/b><\/em>, written towards the end of Beethoven’s life, shows an introspective, yet vibrant composer.\u00a0<\/span><\/p>

\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t

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Six Bagatelles, Op. 126, No. 3<\/i> (1824),
by Ludwig van Beethoven<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Written between 1801 and 1825, few of Beethoven’s Bagatelles are ever performed in recitals. Between solemn, slow pieces and fast, virtuosistic ones, Beethoven’s Bagatelles offer a glimpse of the changes in the composer’s style throughout his career. This\u00a0<\/span>Andante<\/span><\/em>, written towards the end of Beethoven’s life, shows an introspective, yet vibrant composer.\u00a0<\/span><\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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Lake Charles Variations <\/i>(1990), por Wieslaw Rentowski<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Lake Charles Variations <\/i>foi encomendado pela Louisiana Music Teachers Association para a conven\u00e7\u00e3o estadual em Lake Charles - LA. Correntes finas de metal e um crotalo em Eb s\u00e3o usados juntamente com perfrormance tradicional. Escalas brilhantes s\u00e3o alternadas com oitavas est\u00e1ticas, em uma en\u00e9rgica combina\u00e7\u00e3o baseada em repeti\u00e7\u00f5es e acentos irregulares, necessitando o uso de diversas t\u00e9cnicas de articula\u00e7\u00e3o.<\/span><\/p>

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Lake Charles Variations <\/i>(1990), por Wieslaw Rentowski<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Lake Charles Variations<\/i> foi encomendado pela Louisiana Music Teachers Association para a conven\u00e7\u00e3o estadual em Lake Charles - LA. Correntes finas de metal e um crotalo em Eb s\u00e3o usados juntamente com perfrormance tradicional. Escalas brilhantes s\u00e3o alternadas com oitavas est\u00e1ticas, em uma en\u00e9rgica combina\u00e7\u00e3o baseada em repeti\u00e7\u00f5es e acentos irregulares, necessitando o uso de diversas t\u00e9cnicas de articula\u00e7\u00e3o.<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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Nachkl\u00e4nge <\/i>(Reverberations),
para piano com timbres adicionados (1967-74), por Ruth Schonthal<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Nachkl\u00e4nge<\/em> <\/strong>\u00e9 sobre a perda devido \u00e0 guerra, uma influ\u00eancia da persegui\u00e7\u00e3o da compositora pelo partido Nazista. Objetos s\u00e3o adicionados sobre as cordas do piano, criando \"a impress\u00e3o de algo quebrado que um dia foi belo, evocando a imagem de uma catedral bombardeada\". Schonthal faz refer\u00eancia a um coral de Bach, al\u00e9m de can\u00e7\u00f5es marciais alem\u00e3s, usando uma m\u00e9trica que simula a passagem org\u00e2nica do tempo.<\/span><\/p>

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Nachkl\u00e4nge <\/i>(Reverberations), \nfor piano with added timbres (1967-74), by Ruth Schonthal\u200b<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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\r\n\t\t\t\tNachkl\u00e4nge<\/i> \u00e9 sobre a perda devido \u00e0 guerra, uma influ\u00eancia da persegui\u00e7\u00e3o da compositora pelo partido Nazista. Objetos s\u00e3o adicionados sobre as cordas do piano, criando \"a impress\u00e3o de algo quebrado que um dia foi belo, evocando a imagem de uma catedral bombardeada\". Schonthal faz refer\u00eancia a um coral de Bach, al\u00e9m de can\u00e7\u00f5es marciais alem\u00e3s, usando uma m\u00e9trica que simula a passagem org\u00e2nica do tempo.\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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Polyvalence I<\/i>, para piano e eletroac\u00fastica interativa, (2017),
por Mikel Kuehn<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Polyvalence I<\/em> <\/strong>\u00e9 uma pe\u00e7a baseada em improvisa\u00e7\u00e3o, na qual o performer interage com os elemento eletroac\u00fasticos gerado pelo computador. A partitura consiste em gr\u00e1ficos detalhando a textura, atmosfera e conte\u00fado desejado. O resultado \u00e9 um loop de intera\u00e7\u00e3o entre eletr\u00f3nicos e performer em uma atmosfera que muda constantemente.<\/span><\/p>

\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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Polyvalence I<\/i>, for piano and interactive electroacoustics (2017),\nby Mikel Kuehn\u200b<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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\r\n\t\t\t\tPolivalence I<\/i> \u00e9 uma pe\u00e7a baseada em improvisa\u00e7\u00e3o, na qual o performer interage com os elemento eletroac\u00fasticos gerado pelo computador. A partitura consiste em gr\u00e1ficos detalhando a textura, atmosfera e conte\u00fado desejado. O resultado \u00e9 um loop de intera\u00e7\u00e3o entre eletr\u00f3nicos e performer em uma atmosfera que muda constantemente.\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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The Perilous Night <\/i>(1944) para piano preparado, por John Cage<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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John Cage<\/span>\u00a0<\/em>escreveu<\/span>\u00a0<\/span><\/span>The Perilous Night<\/i><\/strong> durante um per\u00edodo de tumultuo emocional devido \u00e0 sua separa\u00e7\u00e3o de sua esposa. A pe\u00e7a expressa \"os perigos do amor er\u00f3tico, a mis\u00e9ria de pessoas se separando e a solid\u00e3o e terror que toma algu\u00e9m quando o amor se torna infeliz\". Objetos inseridos entre as cordas alteram os sons de acordo com os prop\u00f3sitos expressivos de Cage.<\/span><\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t

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The Perilous Night <\/i>(1944) para piano preparado, por John Cage<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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John Cage wrote The Perilous Night <\/em>during a time of emotional turmoil due to his separation from his wife. It expresses “the dangers of erotic love, the misery of people separatind, and the lonliness and terror that comes to one when love becomes unhappy.” Objects inserted between the strings alter the sounds to suit Cage’s expressive purposes.\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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afloat <\/i>(2014), por Paulo Guicheney<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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\r\n\t\t\t\tAfloat\u00a0\u00a0<\/span><\/em>foi inspirado na poesia de Sylvia Plath entitulada \"Two Views of a Cadaver Room\" (Duas Dois Pontos de Vista de um Necrot\u00e9rio), de 1960. Plath descreve o amor profundo de um casal flamengo, encontrados no canto direito inferior do quadro \"The Triumph of Death\" (1562) de Pieter Bruegel. Perdidos no enla\u00e7e amoroso, eles n\u00e3o pervebem que h\u00e1 um esqueleto tocando a\u00a0<\/span>vielle<\/em>\u00a0logo atr\u00e1s.<\/span>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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afloat <\/i>(2014), por Paulo Guicheney<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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\r\n\t\t\t\tAfloat\u00a0<\/em>foi inspirado na poesia de Sylvia Plath entitulada \"Two Views of a Cadaver Room\" (Duas Dois Pontos de Vista de um Necrot\u00e9rio), de 1960. Plath descreve o amor profundo de um casal flamengo, encontrados no canto direito inferior do quadro \"The Triumph of Death\" (1562) de Pieter Bruegel. The Triumph of Death<\/em> Perdidos no enla\u00e7e amoroso, eles n\u00e3o pervebem que h\u00e1 um esqueleto tocando a\u00a0vielle<\/em>\u00a0logo atr\u00e1s.\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t
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Nostalgic Visions <\/i>(2009), por Elainie Lillios<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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\r\n\t\t\t\tNostalgic Visions<\/span><\/em> foi inspirado pela \"Ballad of the Little Square\", de Federico Garc\u00eda-Lorca. Na pe\u00e7a de Lillios, h\u00e1 um di\u00e1logo entre a realidade (tocada no teclado) e a mem\u00f3ria (tocada no interior do instrumento). Momentos de improvisa\u00e7\u00e3o d\u00e3o ao pianista a oportunidade de participar do processo composicional, fazendo de cada apresenta\u00e7\u00e3o uma performance \u00fanica e relevante.<\/span>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t
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Nostalgic Visions <\/i>(2009), por Elainie Lillios<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Nostalgic Visions<\/em> foi inspirado pela \"Ballad of the Little Square\", de Federico Garc\u00eda-Lorca. Na pe\u00e7a de Lillios, h\u00e1 um di\u00e1logo entre a realidade (tocada no teclado) e a mem\u00f3ria (tocada no interior do instrumento). Momentos de improvisa\u00e7\u00e3o d\u00e3o ao pianista a oportunidade de participar do processo composicional, fazendo de cada apresenta\u00e7\u00e3o uma performance \u00fanica e relevante.<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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Douze Notations<\/i> (1945), by Pierre Boulez<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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Boulez composed\u00a0<\/span>Douze Notations<\/span><\/em>\u00a0during his time studying under Oliver Messia\u00ebn.\u00a0 every performance. True to its name, the set consists of twelve movements, each containing twelve measures and composed using twelve-tone technique.<\/span>\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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Douze Notations<\/i>, (1945),
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Boulez composed\u00a0<\/span>Douze Notations<\/span><\/em>\u00a0during his time studying under Oliver Messia\u00ebn.\u00a0 every performance. True to its name, the set consists of twelve movements, each containing twelve measures and composed using twelve-tone technique.<\/span>\u00a0<\/span><\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t

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P\u00f3 <\/i>(2008), by Liduino Pitombeira<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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P\u00f3<\/span><\/em>\u00a0foi escrito inspirado na Poeira de Cantor, estrutura geom\u00e9trica desenvolvida em 1883 pelo matem\u00e1tico alem\u00e3o\u00a0<\/span>Georg Cantor. Uma linha \u00e9 dividida em tr\u00eas partes iguais e estas novamente em tr\u00eas, sendo as partes centrais eliminadas. Essa estrutura est\u00e1 refletida nos valores r\u00edtmicos, nos intervalos entre notas e na estrutura das frases.\u00a0<\/span><\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t

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P\u00f3 <\/i>(2008), by Liduino Pitombeira<\/h2>\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t
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P\u00f3<\/em><\/strong>\u00a0foi escrito inspirado na Poeira de Cantor,<\/em> estrutura geom\u00e9trica desenvolvida em 1883 pelo matem\u00e1tico alem\u00e3o Georg Cantor. Uma linha \u00e9 dividida em tr\u00eas partes iguais e estas novamente em tr\u00eas, sendo as partes centrais eliminadas. Essa estrutura est\u00e1 refletida nos valores r\u00edtmicos, nos intervalos entre notas e na estrutura das frases.\u00a0<\/p>\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/section>\r\n\t\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

In This Light without Air, Elegy for Czes\u0142awa Kwoka (2021), by Paulo Guicheney https:\/\/youtu.be\/-T2iXRH_7H0 In this Light without Air, Elegy for Czes\u0142awa Kwoka, by Paulo Guicheney, is a reaction to the horrors of World War II. It was commissioned for this recital and was inspired by a picture of a fourteen-year-old Polish Catholic girl, Czes\u0142awa […]<\/p>","protected":false},"author":1,"featured_media":101,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mi_skip_tracking":false},"_links":{"self":[{"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/pages\/879"}],"collection":[{"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/comments?post=879"}],"version-history":[{"count":102,"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/pages\/879\/revisions"}],"predecessor-version":[{"id":1373,"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/pages\/879\/revisions\/1373"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/media\/101"}],"wp:attachment":[{"href":"https:\/\/jonathandeoliveira.com\/pt\/wp-json\/wp\/v2\/media?parent=879"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}