Vagando
Jazz, piano solo
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Vou Partir (Nelson Cavaquinho)
Arrangement by Bruno Angelo, for vocal group and traditional samba ensemble
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A Flor e o Espinho (Nelson Cavaquinho)
Arrangement by Bruno Angelo
Instrumentation: flute, 2 Bb clarinets, alto saxophone, tenor saxophone, baritone saxophone, French horn in F, 3 Bb trumpets, trombone, euphonium, tuba, electric bass, percussion (tamborim/pandeiro), and drum set.
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Sesteando
piano solo
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Dimensidão
eletronic music
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O Deserto de Carmandatuba
chamber music
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O Desvão (2012)
Instrumentation: 2 Bb clarinets, bass clarinet, and piano
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It is a piece of music diverted by another. The piano’s entrance will lead the piece to an unusual place, one that, in a way, does not belong to its own reality. This surreal affectation is what, in fact, shapes the form of the piece, which thus suggests other music that could exist behind O Desvão.
Breviário das Narrativas Absurdas (2012)
Instrumentation: vibraphone and piano
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Breviary of Absurd Narratives is a collection of nine short pieces for piano and vibraphone. These are pieces in which musical reality transforms constantly, yet very subtly. At times, these transformations may reach dizzying heights, but generally they remain merely suggestive of an inaudible world that exists behind and beyond the sound.
Quarteto de cordas nº 1 – Libertário (2013)
chamber music
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Teia 3 (2008)
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Pathos (2007)
Instrumentation: Bb clarinet, viola, cello, piano.
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Dentro sem Fora (2007)
Instrumentation: soprano, flute, guitar, marimba, vibraphone.
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A vida está
dentro da vida
em si mesma circunscrita
sem saída.
Nenhum riso
nem soluço
rompe
a barreira de barulhos.
A vasão
é para o nada.
Por conseguinte
não vasa.
de Ferreira Gullar
Life is
within life
circumscribed in itself
with no way out.
No laughter
nor sob
breaks
the wall of noise.
The outlet
leads to nothing.
Therefore
it does not leak.
(translated from the original by Ferreira Gullar)
Teias 1 & 2 (2007)
piano solo / 4-hands piano
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The pair of pieces titled Teias focuses on the piano and its varied ability to produce distinct textures through relatively homogeneous sonorities. Based on the same aesthetic principles, the two pieces reference each other, though they may be performed either separately or in sequence. The title refers to a web—a thread that guides an organic transformation of musical textures.
Below is a brief account of how both pieces were constructed.
Listen to the audio using the player below.
Sarau (2008)
Instrumentation: narrator, tuba, piano, live electronics.
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Coleção de Peças de Caráter (2009)
Instrumentation: flute, Bb clarinet, violin, cello, piano.
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- Opaca (Opaque)
- Efêmera (Ephemeral)
- Incisiva (Incisive)
- Delirante (Delirious)
- Dialética (Dialectical)
- Esparsa (Sparse)
Ao Pó (2011)
Instrumentation: Bb clarinet, trombone, cello, piano.
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Epopéia Fantástica (2011)
Instrumentation: oboe, trombone, percussion, violin, double bass.
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Bubble Gum (2012)
Instrumentation: flute, oboe, Bb clarinet, bassoon.
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This piece of music is a dizzying succession of speeds, oscillations, and also of interactions and convergences between the instruments. The reference to the creation of a universe stems from the constant way in which this music expands—at every moment encompassing new, previously unheard musical realities, and eventually rediscovering older ones. This expansion shapes a kind of shifting identity, which at certain moments (pauses and brief solos) seems on the verge of vanishing, and at others nearly completes its own definition. In any case, Bubble Gum remains transitory and nomadic, and in its distinctive state of being “almost,” it expands beyond its final bar.
O nefelibata
Soundtrack
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Lounge da Mistureba
Suite Faz de conta que…
Instrumentation: flute, clarinet, and piano.
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Three works featured in the soundtrack of the children’s theatre production Faz de conta que…, Porto Alegre, 2009.
Tangão – Escuro – Todos Somos Heróis
Eternidade à Deriva (2008)
Chamber Music
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Impressão de Zé Fernandes sobre a Biblioteca de Jacinto (2011)
For baritone and chamber ensemble
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“We entered a ship filled with majesty and shadow, where I recognised the Library by stumbling over a monstrous pile of new books. My friend [Jacinto] lightly touched a finger to the wall: and a crown of electric lights, shining among the carvings of the ceiling, illuminated the monumental shelves, all made of ebony. On them rested more than thirty thousand volumes, bound in white, in scarlet, in black, with touches of gold—upright in their pomp and authority, like doctors at a council.”
“What a majestic warehouse of the products of Reason and Imagination! There lay more than thirty thousand volumes, all surely essential to human culture!”
— Eça de Queiroz, The City and the Mountains (A Cidade e as Serras)
Negrinho do pastoreio (folclore gaúcho)
cello quartet
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Lutheran Hymns
choir
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Holy, Holy, Holy (HPD 125)
Have Thine Own Way, Lord (HPD 194)
Desgarrados
For amateur choir
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Por aí (Nei Lisboa)
For three-part women’s choir
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Salve o Verde (Jorge Ben)
For three-part women’s choir
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Some songs by Chico Buarque (2005/2006)
Arrangements for soprano, guitar, and piano
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- Gota d’água
- Choro bandido
- Vitrines
- Eu te amo
- O meu guri
- Sabiá
- Bastidores
- Cadê você
- Benvinda
Inspiração (2010)
Soundtrack for the video dance by Grupo Experimental de Dança de Porto Alegre
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Estudo Eletroacústico 2 (2006)
Electronic music
Coisas Pelo Ar (2012)
piano solo
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This musical work consists of five short piano pieces inspired by images of various things suspended in the air. Dust, rockets, tree leaves, a cloud, and a kite: each element carries a unique movement, and with it, a musical poetics that overflows from the image.
This collection is intended for intermediate to advanced piano students, as well as for professional pianists seeking a more experimental aesthetic in contrast to the traditional piano repertoire. It seems to me especially suitable as a counterbalance to the denser and more complex works that often make up piano recitals.
Bruno Angelo
Introverso (2010/2012)
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Let us imagine an idea—one we might call compositional. It is not yet what we commonly refer to as “music,” nor do we know whether it ever will be. What we do know is that, at this very moment, a composition is beginning. Let’s say: a piano smear. Several. Like blots spreading across the temporal and registral space of the instrument, each always distinct in its colour [harmony?], in its size. These are attacks that fade away through the deliberate muting of the strings, and their diversity must also involve differences in density and texture: some will be fuller, more compact chords; others more widely spaced—within the idiomatic possibilities of the instrument. And also, more or less intense, spreading with greater or lesser speed.
Let us move to the score…
Traçado Íntimo e Hesitante (2010)
piano solo