Música Peba Nº 2 faz uso de Partiels, do compositor francês Gerard Grisey, e de Ãguas de Março, de Tom Jobim,
para lançar uma questão similar, impondo vários nÃveis de abordagem
irônica sobre essas músicas de referência, às vezes tendo-as como meras
fontes de clichê, às vezes as deformando/camuflando/escondendo, em busca
de uma expressão mais subjetiva e não-referencialista.
Música Peba Nº 2 (2011) -- Paulo Rios Filho (1985) 22 de outubro de 2011 -- Concertgebouw, Amsterdã Nieuw Ensemble -- Arie van Beek (regente)
Música Peba Nº 2 is a
consequence of my impression that the music which is often considered as
the "good Brazilian music" is, in true, an impossibility. First,
because being good is nothing more than arrogance. And second, because
being Brazilian is nothing more than naiveness (when it is not the
actual opposite, namely, arrogance again).
The first piece of the Música Peba ("Rubbish Music") series builds a
dialogue between Anton Webern (Drei lieder... op. 18, n. 1) and a very
commercial popular Brazilian song by Dorgival Dantas called Você não
vale nada mais eu gosto de você ("You are not worth at all, but I love
you"). Both songs are used/quoted/transformed in different ways to give
form to the original composition, and at the end the general issue is:
which of these pieces is to be considered as trash-music? Webern's,
Dantas's or mine? Trash for whom? In what context?
In technical means, the work could be considered as an environment for
the controlled cohabitation of fragments from the above-cited pieces of
music, in terms of the free use and modification of entire blocks and/or
motives and cells and also in terms of two distinct chains of chords
which move gradually one above the other during almost the entire
work.