ARTICLE ” PETER MIEG AND THE NEO-CLASSIC STYLE”

   In 2002, I made an extensive study of the painter, writer and composer Peter Mieg, to write " Ballade pour Peter Mieg " to commemorate the 100th anniversary of birth of the greatest classical musician of Switzerland. The funny thing is that I compose, I stopped at the only play written by the composer for classical guitar and from a stretch, I wrote the ballade, which is still very welcomed there.

But his work is vast and of great quality. In a century marked by avant-garde experimentalism, the Swiss composer chose the renewal of classicism, which suggests a balance between topics, between the instruments and rhetoric of dualities and sound clashes.

I hear enough Mieg parts for string orchestra, string solos (violin and cello) with chamber orchestra and symphony orchestra, and lately I've been delighted with his two concertos for piano and orchestra. These works (and I have  the scores) were re-released by the Foundation that bears his name in CD whose original array is 1967.

The music of Peter Mieg is refined, elegant, well-themed and built on, well resolved (melody and harmony). Resemble their own watercolors that are a charming simplicity and beauty, but that surprise by a dash of detail or color. Mieg's music is also surprising, but rather a renewal of classicism (the so-called neo classicism, the Russian Sergei Prokofiev and Igor Strawinski also adopted) by including elements of jazz, atonality of circumstantial and temporary, intermediate and final resolutions innovative and unusual use of instruments in the orchestral palette.

This might explain the work of youth Mieg, which belongs to another time, but it sounds fresh and renewed the ears of the century and that remains as well settled modern view about the time of Haydn, Mozart and Beethoven. The 1st Concerto for piano and orchestra is from 1947 and the second date of 1961.

The music of Peter Mieg need urgent assessment because it is far superior to the trials of the century that has vacancies and how little he contributes to the entry of newcomers to the classical universe. Mieg is a great composer and wrote for many different formations.

( Wrote for Aldo Moraes, on 1996)

INFO ON MUSICALS WORKS OF ALDO MORAES II

1) CURUMINS (Piano solo)

Curumins is a tribute to the 120 indigenous and rural workers with whom the composer has developed a research and composition, in Tamarana in 1999 and 2000. Curumins uses the piano so raw, rhythmic and harmonic accompaniments with rude and primitive, not outlining any apparent elaborate technique. The composer uses the tone changed, he developed the holding tone higher / lower.

2)HAICORDAS

Haicordas are pieces for solo instruments or groups of strings that incorporates ideas from the haiku form of Japanese poetry that tends towards the minimalist, philosophic reflection and poetic coincidence. The pieces represent an exercise of freedom and lightness, so the pieces are simple and use few elements and subtle harmony.
Morales uses the so-called altered tone, designed by him and whose concept is to allow a "new tone hearing" feature with melodic and harmonic organization and his own choice was made because aesthetically be close to haiku. The pieces should be played (mostly solo pieces) without concern metrics and allowing the unexpected bounce.


3) BALLADE POUR PETER MIEG

This ballad is a tribute to the Swiss composer Peter Mieg (1902-1990). Mieg wrote a piece for guitar (Petite Marche pour Jean-Marc Epiney) on October 2, 1963 and he was one of the most important twentieth century artists in his country, working as a journalist, composer and artist. Ballade phrasing lends the 2003 opening bars of La Petite Marche and it was published in the Bulletin of P. Mieg Foundation in December 2002, receiving praise and attention of the media in music in Switzerland.

4) SONG ABOUT RIMBAUD

"À la Enivré pisotiére
à la pisotiére
à la pisotiére
amoureux de l'auberge de la bourrache
dissout et que, un rayon!
(Les délires -Arthur Rimbaud)


"I wrote a harrowing song for tenor (recitative and song) and guitar when I met the text of the French poet Arthur Rimbaud and got carried away with its possibilities and the French language.
At the same time as the subject, gave obvious allusions to the margins (of images and sounds) I tried to emphasize, also other subtleties that provides the world's madness: new music features, which may sound somewhat trite, but that will reveal the extreme of the meeting himself.
From the musical aspect, the guitar is remembered as the most intimate, more subtle and reserved. And secondly, is the instrument that gives voice to popular singers,  night, the drunks, the desperate and the revolutionaries. The tenor, male voice in popular lyric repertory, is contradicted by what is imposed on a recitative violent and crazy. The idea of ​​delirium begins with the proposal for a composite measure (3 / 8), the tenor recitative (rhythmic, with no indication of notes) and a subtly melodic guitar-atonal harmonic (which is guided by the frets on the guitar upward movement , keeping a finger assembly, and whose tender is the random term: Gambling determined by chance).

  As the chords ascend the houses of the guitar without a tonal connection between them, the instrument lends itself to atonality. A solo guitar anticipates a moment of clarity, the tenor who sings in 13 of the repeated notes. Returns the freedom tone of voice and a guitar, record and undecided (beats ranging from strong / weak) closes the composition. “

( Comments of the composer Aldo Moraes )

INFO ON MUSICALS WORKS OF ALDO MORAES

1) Ballet Dancer / piano solo
Ask descriptive and philosophical movements in 03 open, Dancer was loosely inspired by the framework of an artist from São Paulo City : Geni Furlan. In the imagination of the composer, the dancer tired of prey immobility and the screen of a picture on the wall comes to life and desires themselves, run away and appears onstage as a free and timeless. And it fascinates crowds. But again she is tired now of applause. A dancer returns to the table looking for a momentary rest. But she is punished to eternally remain inanimate. With their different brightness. His mysterious movement.
Ballerina premiered in 1995 at the Faculty of Arts and Architecture Paulista.

2) GESTURES / piano solo
Written in 1995, the play does represent a free and modern in its 06 movements, gestures aesthetic / musical (sound) of tonality, atonality, minimalism, modalism, counterpoint and harmonic concepts.
I-Andante, almost impressionistic tonal
Movement-II suggests that brief allusion to the melody and counterpoint accompanied
Movement III-symbolic, a gesture between the subtle and the dense
IV-moving chords and melodies the way they are seen as chords
V-Mov.com characteristics of counter-melodies, in the form of interference
VI-Gesture tonal, traditional melody and transition to C major to C minor

Gestures was premiered at the VII Latin-American Composers, in Porto Alegre City  in 2001, with pianist Sandra Morh.


3) SONATA  II (Piano solo)
Sonata written on non-traditional technique uses the tone changed (developed by the author) and the piece suggests aspects of sonata form, while the rejects, either in theme or in the organization of each of the 04 movements, characteristic themes, development or musical proposals.
The 1st Movement is a miniature coral, 2 is a waltz, the 3rd is a movement fugato, where the strict form is only suggested. The 4th movement is essentially a sonata-allegro, theme duels without seeking the interaction between theme 1 and theme 2.
The tone changed seek a "rehearing tonal" with suggestions of RE #, MI #, # SUN, THERE IS # # and where we highlight features melodies and harmonies themselves, as the sound effect of the new tone.

( Comments of the composer Aldo Moraes )

CATALOGUE OF COMPOSITIONS
Aldo Moraes
PIANO:
BRAZILIAN SUITE-04 movements
THOUGHTS -02 movements
-05 Curumins movements
    -05 Sonata movements
BALLERINA -03 movements
    -06 GESTURES movements
MEMORY FOR A TOMB IN THE GARDEN-PRELUDE
SONATA II
NOTEBOOK MUSICAL TONE CHANGED
SONATA III
SONATA IV


GUITAR:
I-Evocation-07 movements
II-07-HAICORDAS movements
III-COR HEART (TRIO) - 06 movements
IV-CHILDHOOD-03 movements
SONATA V-SMALL-05 movements
VI-BRAZILIAN SUITE I-05 moves
VII-PRELUDE # 2
VIII-07 PRELUDE BRAZILIAN
IX-02-Sonata movements
X-SUITE MODERN BRAZILIAN (02 GUITAR)
BRAZILIAN XI-VARIATIONS (02 GUITAR)
XII-06-SUITE CHILD movements
XIII-BOOK OF DREAMS-03 movements
XIV-THE VANISHING VOICES 03
XV-BALLADE POUR PETER MIEG
BRAZILIAN SUITE XVI-II
XVII-SUITE BRAS.III
Eighteenth-SUITE BRAS.IV
Nineteenth-SUITE BRAS.V
XX-SUITE BRAS.VI
XXI-SUITE BRAS. VII
XXII-II HAICORDAS


VOCAL:
POEM OF SOUND / SUITE I (10 movements) 02 VOICES GUITAR and Atonal
Délires -TENOR AND GUITAR
CAPELLA CHOIR FIRE AND ICE-MIXED
Missa Brevis-CAPELLA CHOIR TO JOINT
AVE MARIA-MIXED CHOIR
CYCLE SONGS CURTAS-VOZ/PIANO/GUITARRA
SONGS SENTIMENTAIS-VOZ/PIANO
HAICANTOS (VOICE / PIANO) 06 movements
HYMN CIVIL OFFICIAL FIREMAN
POEM OF SOUND II


CHAMBER MUSIC :
I-STRING QUARTET I - 03 movements
II-SONATA FOR FLUTE AND GUITAR -03 movements
III-05 PIANO TUNES ACCOMPANIED BY: Bass, OBOE, BASSOON, ALTO SAX and VIOLIN.
ABSTRACT IV-SUITE FOR STRING ORCHESTRA
V-CONCERTO GROSSO FOR FLUTE, VIOLIN STRINGS and
VI-PRELUDE-STRINGS
VII-Concerto for Flute and Chamber Orchestra
VIII-AUTO POPULAR CHRISTMAS - SET, and NARRATOR VOICE
IX-SONATA FLUTE AND PIANO - 04 movements
X-"CRIS" FLUTE SOLO-03 movements
Sonatina-XI-03-FLUTE SOLO movements
PART XII-TRACK "Masks" - FLUTE / PIANO / GUITAR
XIII-TABLES-TRADITIONAL STRING ORCHESTRA
XIV-TRIO-STRINGS
XV-TRIO-WOODS
XVI-CONCERT W / SMALL GUITAR ORCHESTRA and
CHOROS XVII-18 (or Small Collection Instrumental)
XVIII-08 Valse - FLUTE SOLO
Nineteenth-Sonatina for violin and piano-02 movements
XX-Sonatina for bass and GUITAR -03 MOVS
XXI-PRELUDE FOR SOLO CELLO
XXII-PRELUDE FOR SOLO CLARINET
XXIII-SMALL INSTRUMENTAL COLLECTION II


SYMPHONY ORCHESTRA:
I-BRAZILIAN PRELUDE
LOVE CANTATA-II-MIXED CHORUS, SOPRANO and TENOR SOLOS, String Quartet, Piano and Orchestra
VARIATIONS FOR ORCHESTRA III-TONE CHANGED IN ORCHESTRA-and piano out of tune
SYMPHONY I-IV
BOOK OF DREAMS-V-orchestra and piano
II-VI SYMPHONY

"Mission, History and Prizes of Cultural Centre Arte Brazil"

The mission (social and art) of organization is:

- Divulgate the brazilian art and culture

- Made books and cds of news talents of brazilian art

- Curses gratuitous of music, theatre and literature for poor youngs and childreen

- Peace's culture between brazilians youngs

Born on 1996, the Cultural Institute Arte Brazil work with ongs, governments and private organizations .

For cultural and history work , conquisted the Nacionals  Brazilians Prizes :

-     Public utilidad number I  and number II (2000 and 2001)         

-    Zumbi dos Palmares (2003)

-    Junia Rabello Institute (2004)

“ Projects of Arte Brazil ”

-    Batuque na Caixa

By 1999 , worked with 5.400 poor youngs and childreen on Brazil with curses gratuitous of  brazilian music , theatre and literature. The students played with Olodum , Naná Vasconcelos and  Caetano Veloso .

-    Aqui tem livro

Project of studies about brazilian and Universal Literature for brazilians youngs .

-“Show Brazilians Rithms “A history of samba and new bossa (of 1900 and 2000, a trajetory of brazilian music )

- Cd Arte Brasilis

Compact disc produzided on 2002 with students of Arte Brazil and cd with inedits songs of samba , new bossa and brazilian music .

Conductor Aldo Moraes.

Musicals Downloads :                                               

When you acess our page in the internet, you can made  free musicals downloads of album “Arte Brasilis” recorded on 2002.

You can divulgate the ensemble Batuque for yours friends, parents and students.

The sound of Batuque have: brazilian music, new bossa, samba, brazilian jazz and pop music.

Site of ensemble and project Batuque:

www.tramavirtual.com.br/batuque_na_caixa

The Arte Brasil is a social organization that work with brazilians youngs and poor populations of Brazil.

Director: Aldo Moraes

Address:

Avenida da igualdade, 102

Londrina  PR  CEP  86077-010 Brasil

Fone: 055 43 3334-3562

Email: ongartebrasil@bol.com.br

Site: www.tramavirtual.com.br/batuque_na_caixa

Fotos: www.batuquecaixa.nafoto.net