COMPOSITION
My inspiration for composing concert music is forged by technical and esthetic concerns as well as by the needs of musical expression.
At times, what first comes to mind is the desire to write for a specific instrumental arrangement. At others, it is a pure musical idea or an abstract emotion.
Above all I must find the appropriate form and technical procedure that correspond to that initial nebulous desire that will become a musical piece.
Orchestra
“Six miniatures”
orchestral version
midi recording
“Into the river”
string orchestra
freely inspired by the short story “A terceira margem do rio” by João Guimarães Rosa
midi recording
“The song came, and went away, as ever”
chamber orchestra
freely inspired by the short story “Sorôco, sua mãe, sua filha” by João Guimarães Rosa
midi recording
“Fraga e Sombra” (Cliff and Shadow)
soprano and chamber orchestra
poem by Carlos Drummond de Andrade
Sonia Mindlin, soprano
Chamber orchestra from the Aaron Copland School of Music
Concert in New York 1988
Chamber Music
“Soniar”
solo flute
Helen Campo, flute
Concert in New York 1985
“Five songs on poems by Adelia Prado”
soprano, clarinet and piano
Sonia Mindlin, soprano
Isabel de Latorre, clarinet
Lídia Bazarian - piano
Concerto in São Paulo 1996
“Inhabiting time II”
clarinet and double bass
midi recording
“Vibra(phone Varia)tions”
solo vibraphone
VIBRA(PHONE VARIA)TIONS
“Fantasia”
solo flute
“Six miniaturas”
guitar quartet
“Mouvement for wind quartet”
flute, oboe, clarinet, bassoon
Eletroacoustic
“Ba-o-ba(ch)”
eletroacoustic
BA-O-BA(CH)
“Inhabiting time I”
eletroacoustic
“Every day…”
electroacoustic
Ana Terra, vocals
“Urban Tracks”
sound landscape for installation “Urban Tracks”
by José Magalhães Jr and José Francisco Xavier composed for the Bienal 50th year (2001)
LUIZ HENRIQUE XAVIER
lhx@luizhenriquexavier.com
ESTÚDIO MANDORA
mandora@luizhenriquexavier.com
São Paulo Brasil