A Conversation with Sergio Roberto de Oliveira
We talked in Portuguese via Skype on March 17, 2012.
Tom Moore: Letâ€™s start by talking about your works from 2011 on. First, Bico do Papagaio [Parrot Beak]. Everyone who lives in Rio de Janeiro knows that this is a peak in the Tijuca Forest.
Sergio Roberto de Oliveira: In fact I decided to write a series of pieces about places in Rio, and I made a list of nice places, places that I love, and my daughter, Laura, suggested that I start with Bico do Papagaio. So I began with this, and it was a piece that I composed for CRON for their concert with Preludio 21. It has three movements. The first movement is called â€śThe Rockâ€ť, which is a slow movement, with the performers playing long notes in order to give a sensation of something static, solemn, sublime, which is always there, when you look at the rock. The second movement is called â€śThe floraâ€ť, so I imagined someone taking a closer look, and seeing the forest â€“ I think the movement is very pretty, with some things that are quicker in terms of rhythmic figuration, that have to do with the huge number of little leaves and flowers which make up a broad picture of the scenery â€“ there are some little quick things, staccato, to give an impression of the flora. The third movement is called â€śTrailsâ€ť, since if you move even closer you will be on the trails, climbing up the peak. The movement in general is in 7/4, but towards the end I change it to 2/4, to give that familiar Brazilian rhythm â€“ 3+3+2 â€“ which has so much to do with that landscape of the Bico do Papagaio.
TM: Who played the premiere?
SRO: It was Maycon Lack, flute, Waleska Beltrami, horn, and ClĂˇudio Alves, bass.
TM: This was the first time that Maycon Lack was playing your music.
TM: Had you known him earlier?
SRO: No. I met him at this concert, and it was then that I suggested that he should be part of Ventos do Rio [flute trio with Lack, Rudi Garrido, and Maria Carolina Cavalcanti].
TM: So in other words you wrote this particular piece without being familiar with his playing style as a flutist.
SRO: Exactly. I knew that there would be Waleska, who had already played my Commedia, and who played in the Orquestra de Solistas â€“ so I knew her, but I had never worked with Marcos Nogueira nor with Maico.
TM: Have you climbed to the top of the Bico?
SRO: No. I have climbed Tijuca Peak [facing the Bico], never the Bico. I have walked past the trailhead for the Bico, but have never gone up.
TM: Youâ€™ll have to make a videoclip of the group playing the piece up on top of the Bico.
SRO: It might be a problem getting a doublebass up there.
TM: Perhaps you are rightâ€¦.
Your next piece is â€śThree Glances at a Pretty Girlâ€ť. Rio is famous for pretty girls, and also for Cariocas looking at pretty girls. Were you thinking about Vinicius and his look at the Garota de Ipanema when you coined the title for the piece?
SRO: No, definitely not. I had a commission from Veredas, a duo made up of the violinist Ayran Nicodemo and the cellist Murilo Alves. I had been very backed-up in terms of writing compositions, since the previous year I had written relatively little. I was in Cinco Lagos, a little place near Mendes, where the father of Maria Carolina Cavalcanti, my flutist and my girlfriend, lives. We were sitting on the sofa, she was reading, and I decided to compose. It is a piece dedicated to her, and inspired by her. Just like Faces, which looks at four facets of a relationship, this piece looks at Maria Carolina. The first movement is called â€śWhen She Playsâ€ť, and those who know her, know that she plays with a lot of personality â€“ she is not at all shy.
TM: She plays with verve.
SRO: Exactly â€“ so the first movement is quite powerful â€“ it works with Bartok staccato and long notes, and then detached sixteenths â€“ it is a rather masculine movement, not that Maria Carolina is masculine, but maybe there is something in the way that she plays that is. The movements each have expression markings, and the first movement is marked â€świth passionâ€ť. The second movement is â€śWhen she readsâ€ť, which was precisely that moment that I was there with her, marked â€świth loveâ€ť. And the third movement is â€śWhen she lies downâ€ť, which is marked â€świth ardorâ€ť. Here you have one instrument searching for the other, and there is a moment when the two meet.
TM: It is interesting that this piece that portrays a flutist does not use the voice of the flute. This is your first work for this combination.
SRO: Yes. I have written very little for violin in fact, which is because of the fact that here there have been few violinists asking me for pieces. I havenâ€™t been very active in that environment. I have been writing for cello because of my friendship with the Duo Santoro, and with Hugo Pilger and the Quarteto Radames Gnattali.
The fact that I put as the first movement of this piece â€śWhen she playsâ€ť means that I was trying to give a picture, not of the flutist, but of the woman.
TM: A view from outside.
SRO: Exactly. Playing is only one of her facets, not necessarily the most important one. The relationship that I had with her before, before we were boyfriend and girlfriend, as composer, was very much through how she plays. This music is precisely in homage to this new vision, a more complete and holistic vision of her.
TM: Letâ€™s talk about something more technical. Strings have different technical possibilities than winds do â€“ pizzicato, effects with the bow, harmonics. Did you want to explore some of these?
SRO: I explored a few of these possibilities â€“ pizzicato, Bartok pizzicato. You know me well â€“ in general I donâ€™t use extended techniques unless there is a very serious reason to do so. Above all I think about how the music can be organic for the musician. It can be difficult, but it has to be organic. I worked within the technical possibilities thinking of the hand of the violinist playing, the bowstroke, but without thinking of having to explore all the technical possibilities of the violin. I use the technical possibilities when there is an expressive need to do so. In the first movement, there IS the use of pizzicato to get the expression that I was looking for, and I didnâ€™t think twice about using it. But in general I am more concerned with expression. My music has more to do with the Baroque, when you could take the same piece of music and adapt it for various different instruments. My music is very easily adaptable â€“ you yourself are always making suggestions in this regard, precisely because although my music is organic for the instrument, it is not tied to specific techniques for that instrument.
TM: Next on the list for 2011 is another duo, this one for oboe and bass clarinet, titled Falta [Lack]. This idea seems to be extremely present in your works.
SRO: Certainly itâ€™s something Lusitanian, the influence of Brazilian culture, perhaps, the constant melancholy. Brazil has all these colors, but at the same time there is presence of suffering, of saudade.
TM: Do you think the Brazilian suffers from having crossed the ocean and left Lisbon behind?
SRO: He left Lisbon behind, and Africa as well. I am not sure that the Brazilian misses Lisbon in particular, but this sense of loss is very important, I think. I think itâ€™s very human. Whether or not someone likes my music, they will have to admit that my music is very human, it tries to explore human feelings, the depth of the human soul, rather then being simply abstract music. Even when I create an abstract music, it takes into account that the musicians who are playing are human beings, and the listeners as well. Thereâ€™s no point in thinking about art, without realizing that the art is made to go from one human to another. Yes, you will find various pieces of mine that deal with saudade, as well as with other things â€“ parties, happiness, people meeting each otherâ€¦.
TM: But in Brazil even at the end of a fabulous dinner thereâ€™s a sense of something missing, which is why people say â€śai aiâ€ťâ€¦
SRO: Yes, it is a sense of something missing â€“ â€śai ai, I wish I were on my sofa nowâ€¦.â€ť You are always wanting to be in another place, with other peopleâ€¦..
TM: You have already had plenty to eat, but something is missing.
SRO: I think itâ€™s very healthy, because otherwise the Brazilianâ€™s emotional completeness would be linked to food. Perhaps we are thinner because of this.
TM: What was this particular â€śFaltaâ€ť?
SRO: It was a very specific moment in my life, the period post-separation. My friend Luis Carlos Barbieri, the guitarist, was talking to me about separation â€“ he already went through two separations, and he said â€śSergio, it is as if they amputated a part of you. That absence will always be there with you. In spite of the fact that it was a conscious separation, and the fact that I am on a happy path, the lack of those moments, that house, that family, that dynamic, is very present for me. It seems funny to say that a lack is present, but thatâ€™s how it is. The lack of the presence of my daughter, her presence in my daily life, is very present. This lack is a definitive lack, because my daughter now is an adult, so itâ€™s a lack that leads to another lack. The lack in this music comes from the lack of that dynamic, that life that I had.
TM: And why this particular scoring?
SRO: As always, it was a commission, from Ximena Poveda Viera. She needed a piece for her graduation recital, and asked for a piece for oboe and clarinet or bass clarinet. The piece was originally intended for oboe and clarinet, but there was problem in communication, and at the premiere it was heard on oboe and bass clarinet, which was fine. I was feeling this way at the time, and she asked for the piece, rather than the other way around.
This is a big advantage for a busy composer like myself. There are always musicians asking for pieces, there are always projects, and I end up having an emotional road map of my life â€“ for every moment there is a new piece to compose.