Booklet

Camará Ensemble of Bahia
Música Baiana? (2011–12)
1. Paulo Rios Filho
nav tirs nekadus hibridus n. 2

2. Jean Menezes
O Conforto (apesar do tombo)

3. Paulo Costa Lima
Ibejis Nº 2

4. Alexandre Espinheira
Oxowusí

5. Vinícius Amaro
Gigitanas N. 0,5 ou 1/2 (Frenesia)

6. Wellington Gomes
Modos Imagísticos

All works composed in 2011.

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Flávio Hamaoka, flute | Gueber Santos, clarinet | Davysson Lima, alto and tenor saxofones
Vitor Rios, banjo and mandolim | Gilson Santana, guitar | Humberto Monteiro, percussion
Samuel Dias, violin | Adalberto Vital Neto, violin | Suzana Kato, violoncello
Fernanda Monteiro, violoncello | Paulo Rios Filho, artistic director and conductor

Recording engineer: Alexandre Espinheira
Editing and mixing: Alexandre Espinheira e Paulo Rios Filho

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Recorded live in Salvador, Bahia, Brazil | In 2012 May 17th, 
at Teatro Vila Velha, releasing the project MAB–Música de Agora na Bahia

(except for Gigitanas 0,5, recorded in 2011 Dec. 16th, at Teatro Eva Herz; and Ibejis Nº 2,
in 2012 Jun. 20th, at Espaço Cultural da Barroquinha)


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1. Paulo Rios Filho | nav tirs nekadus hibridus n. 2 (2011): “Not pure, nor hybrid”. This is the meaning of the work's title in Latvian. It's about figuring out an anti-world, where things are not things, and about the perception of a travel or path taken by both the natives and the creators of this world. In one hand, a familiar musical entity (Dorian scale) follows a way of self-transformation, in a crazy trip to its own deformed figure –– when it becomes not familiar anymore.  On the other hand, a nature's musical entity (harmonic series) becomes artificial  while getting close to a point in the future (turning itself into a whole-tone scale). Both of them travel in the same direction, one of transformation, and their paths get to blend, crossover and rub; they get to caress each other. Listen to it, once this world can only be listened to. The images they are by your own account.   

2. Jean Menezes | O Conforto (apesar do tombo) (2011): Although there are local stressed instrumental moments, this work seeks to create textures and harmonic evolution from very simple materials and easily identifiable metric elements. The aural familiar atmosphere which takes place in some prolonged moments is straightly proportional to the stumble.

Is it worth to disguise the effort concentrated in short moments to maintain the consistence? Or should we call attention to the shock and cede to gravity? The comfort zone lies closer to what of these edges?  

3. Paulo Costa Lima | Ibejis Nº 2 (2011): The work goes named with the sign of the African twins. And likewise the #1, written 50 works before, it does an exercise of complementarity –– textures which are getting assembled together, rhythmic games, tricks and challenges between partners of journey...
4. Alexandre Espinheira | Oxowusí (2011): The piece is one more among a series written by Espinheira which explores the popular rhythms of Bahia as a way to generate pre-compositional material to the work. A rhythm played to Oxóssi in some candomblé nations leads to the pitch class sets that control, in addition to the pitches, a couple of decisions. Subliminally, a chant of the cited orixá rules the transposition schemes, beyond permeating the entire piece.

5. Vinícius Amaro | Gigitanas N. 0,5 ou ½ (Frenesia) (2011): Written to the Camarás' mandolim player, Vitor Rios, and conceived as a kind of study, Gigitanas Nº 0,5 is all sewn through a chromatic scheme ruling the voice leading. Divided in three short sections with distinct sound conceptions, the work explores idiomatic sonorities and other ones not so typical of the instrument, in addition to some sounds produced by the performer himself, which can be blended in the very instrumental idea. Under a metric construction that tends to be desconstructed all the time, the piece evokes a state of anxiety, often present in modern urban man, and plays with rhythmic cells from the Bahia's pop genre called arrocha and with a little melodic idea from Time and Motion, by Canadian progressive rock band Rush.

6. Wellington Gomes | Modos Imagísticos (2011): It was written based on three of the limited transposition modes. Allied to that scales, a succession of chords, which goes from the perfect triad to the cluster, or vice-versa, creates a harmonic structure that is repeated and/or transformed while the rhythms delineate the musical gestural contour. The general intention is to create a sounding imaginary which moves itself with fluency within a constant pulse. 


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This album was crowdfunded!
We are glad to thank our supporters:

Restaurante Grão de Arroz | Escola de Música da UFBA

Léa Rios, Luciana Costa, Amanda Blauth, Claudia Cunha, Vania Priamo, Artur Rios, Luiza Falcoa, Vitor Rios, Paulo Rios Filho, Carlos Amaral, Rafael Pinheiro, Caio Amon, Rodrigo Costa, Alisson Gonçalves, Ian Freire, Flavia Candusso, Fátima Leite, Thiago Gordiano, Diogo Azevedo, Zeza Barral, Wellington Gomes, Jamberê Cerqueira, Estevam Dantas, Alexandre Espinheira, Heliana Feitosa, Fernanda Monteiro, Josinaldo Gomes, Luan Marques, Cacau Celuque, Daniela Amorim, Davi Figueiredo, Estúdio Lagos, Pedro Rios, Rodolfo Valente, Ricardo Alves, Eda Mª Bestetti, Sophia Rocha, Odilon Jesus, Flávio Hamaoka, Pedro Dias, Vinicius Amaro, Beto Bonfim, Leo Coutinho, Son Melo, Henrique Silva, Guilherme Bertissolo, Lia Sfoggia, Edmundo Hess, Vanessa Almeida, Roque Amaro, Paulo Rios, Quedma Cristal, Nancy GS, Luzia Amaro, Tuzé de Abreu e Wellington Gomes

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