Oakeley, Sir Herbert (Stanley)

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Oliveira, João Pedro (Paiva)

(b Lisbon, 27 Dec 1959). Portuguese composer, organist and teacher. He studied at the Instituto Gregoriano in Lisbon (organ with Antoine Sibertin-Blanc and composition with Christopher Bochmann). He also frequented the seminars given by Emanuel Nunes at the Gulbenkian Foundation. He continued his studies in the USA at Brooklyn College with Charles Dodge and at Stony Brook University, where he studied electronic music with Arel and Semegen (PhD, 1990). He was appointed to teach at the music department of the University of Aveiro.

He has a richly mystical vision of the process of composition, in which the composer transcends his own ego in an attempt to capture and develop fleeting impressions that pass by him. Stylistically, his music owes much to his American training, with a clearly atonal language. There is a strongly logical rhetoric, sustained through constant transformation and variation, from which moments of religious ecstasy emerge. His works are often arranged in large cycles.


(selective list)

Op: Patmos (Bible: Revelations), Fine Arts Center, Stony Brook, New York, Dec 1990, 1990 [partial perf]

Orch: Tessares, 1991; A cidade eterna, orch, tape, 1997

Vocal: Images de la memoire (St Augustine), S, str sextet, 1992; Visão (Book of the Prophet Joel), S, orch, tape, live elecs, 1992; Requiem for the Planet Earth, solo vv, chorus, orch, tape, 1993–4; A viagem dos sons, solo vv, ens, tape, 1998

Chbr and solo inst: 7 visões do Apocalipse, org, 1982; Integrais I–IV, various solo insts, 1986–9; Threads I, ob, eng hn, va, pf, cel, db, 1987; Threads II, 13 insts, 1987; Pirâmides de Cristal, pf, 1993; Peregrinação, str qt, 1995; Harmonias e ressonâncias, org, 1996; Le Voyage de Sons (Upanishads), str sextet, S, Mez, Ct, tape, 1998–9; ‘ … there are those who say that life is an illusion … ’, fl, ob, tpt, perc, vn, vc, tape, 1999

Elecs: Psalmus, 1986; A cidade eterna, 1988; Tríptico, 1991–2; Silence to Light, 1992; Atlas, 1998; Azul profundo, 1998; Rumo ao futuro, 1998


Oliveira, Jocy de

(b Curitiba, Brazil, 11 April 1936). Brazilian composer, pianist and multimedia artist. The most prominent woman composer in Brazil, she began her piano studies in São Paulo under José Kliass (1946–53) and continued them in Paris under Marguerite Long (1953–60). In 1963 she moved to St Louis, Missouri, with her husband, the conductor Eleazar de Carvalho, and studied composition with Robert Wykes at Washington University, earning her MA in 1968. She taught at the University of South Florida and at the New School for Social Research in New York.

As both a pianist and a composer, Oliveira has promoted contemporary music in Brazil on various fronts. Numerous major composers such as Berio, Xenakis, Lejaren Hiller and Santoro have written pieces for her. She played Stravinsky’s Capriccio under the baton of the composer and was soloist with major orchestras such as the Boston SO, the Brooklyn PO, the Los Angeles PO, the Orchestre de la Radio-France, and many others in Europe and Latin America. She has recorded about 16 discs, released in the USA, Brazil, Mexico, Britain and Germany, performing all the major piano works of Messiaen, her own compositions and other contemporary works.

Her compositions include five major operas and music theatre works which have been acclaimed through several productions in different countries. In 1993 she began an opera trilogy with Inori, à Prostituta Sagrada, presented during an entire month at the Bank of Brazil Cultural Centre in Rio de Janeiro. The second opera, Illud tempus (1994), selected by the newspaper O Globo as one of the ten best musical events of the year, was produced with great success in Rio and São Paulo as well as at the Haus der Kulturen der Welt, Berlin (1995). Her magic opera Fata Morgana (1987) was first performed at the Museum of Modern Art in Rio. Of her multimedia works, Space Liturgy (1988) was presented before an open-air audience of 15,000 in Rio, and the planetarium piece Música no espaço was performed in the 1980s at the Hayden Planetarium in New York and other planetariums in Miami, Rio and São Paulo. The variety of media used since the 1960s emerged from her conviction that sound expression is universal in all life.


(selective list)

Ens: Estória II, 1v, perc, tape, 1967; Happenings, 1970; Polinterações I and II, 1970; Dimensões, 4 teclados, amp pf, amp hpd, el org, el pf, 1976; Wave Song, pf, tape, 1977; Estória IV, vv, el vn, perc, gui, db, 1978, rev. 1980; Música no espaço, multimedia, 1982; Fata Morgana (magic op), 1987, Rio de Janeiro, Museum of Modern Art, 1987; Space Liturgy, multimedia, 1988; Inori, à Prostituta Sagrada (op), actors + dancers, 2 S, vv, fl, roopill reeds, mukha-vīnā, p’iri, ob, trbn, perc, ajaeng, synth, 1993, Rio de Janeiro, Bank of Brazil Cultural Centre, 1993; Illud tempus (multimedia op), 1994, Rio de Janeiro, 1995


Apague meu Spotlight (São Paulo, 1961)

O 3º Mundo (São Paulo, ?)

Dias e caminhos, seus mapas e partituras/Days and Routes Through Maps and Scores (Rio de Janeiro, 1984)


M. Marcondes, ed.: Enciclopédia da música brasileira: erudita, folclórica, popular (São Paulo, 1977, 2/1998)

V. Mariz: História da música no Brasil (Rio de Janeiro, 4/1994)

G. Béhague: Sonidos de las Américas Festival: Brasil, New York, 1996 [American Composers’ Orchestra; programme book]


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