BRAZILIAN MUSIC COLLECTION

Three works by L. C. Vinholes published by the University of Brasilia Press

L. C. Vinholes

20.09.2025

Nota: Depois de 24 anos, decidi publicar este artigo no site www.usinadeletras.com.br

para alcançar a um público que não é o dejaneiro de 1980.

From the newspaper Correio do Povo,

January 2, 1980

Porto Alegre, RS, Brasil

The University of Brasília Press, under the direction of Professor Carlos Henrique Cardim, Chairman of the Editorial Board and with the collaboration of the composer Claudio Santoro and the pianist Paulo Affonso de Moura Ferreira, members of the Editorial Commission of the Brazilian Society of Contemporary Music, published the first score of the Brazilian Music Collection, with the works Time-Space VIII, IX and XI, by the composer L. C. Vinholes.

The three works are written for flute, basson, clarinet, violin, viola, violoncello, guitar ad libitum, triangle, xylophone, vibraphone, big drum, wook block, piati, tam-tam and piano, In the work Time-Space VIII voice is utilized for reading of a short poem of five lines, also written bu Vinholes.

Time-Space VIII was written in August and September 1974 and had its first performance on September 24 of the same year, at the Goethe Institute in Tokyo. The composition was included in the program of the farewell concert for the composer H. J. Koellreutter, the Director of that organization in Japan. The first performance of this work in Brazil was on September 23, 1976, at the São Paulo Municipal Theater, by the Percussion Group and the Ars Nominus Madrigal, of the Conservatory of Music “Brooklin Paulista”, under the direction of Claudio Stephan.

Time-Space IX was written on May 1975, and was performed for the first time on July 15, 1975, at the Arts Festival in Salvador, Bahia State, by the Bahia Newmusic Ensemble, conducted by Piero Bastianelli. This work received the Honorable Citation at the Newmusic Composition Contes/Bahia/75. Bastianelli presented this work at the II Biennial of Contemporary Brazilian Music in Rio de Janeiro, on October 1977, and in Brasília and Goiânia, on the occasion of the IV Summer Course, on January 1979.

Time-Space XI was written on March 1978 and was performed for the first time on June, 1978, at the Villa-Lobos Hall, in Paris, by Antonio Carlos Carrasqueira (flute), Celia Eid (clarinet), Peter Schuback (violoncello), Jukka Tiensun (piano) and a chamber music group.

The first works written by Vinholes with the identification Time-Space were numbers I and II, for violin, viola and violoncello, presented as examples during the three lectures that he gave at the Pró Arte Free School of Music, on September 1956, in São Paulo. On this occasion, Vinholes explained for the first time his new technical principles and concepts for musical structures. TIME-SPACE I and II were edited in Japan, on 1960, by the Shin Nippaku Collection and were presented in a world premiere at the XIV Festival of New Music in Santos, São Paulo State, on October 17, 1978, by Nathan Schwartzman, Bela Mori and Paulo Taccetti, members of the Martins Fontes Quartet.

On the occasion of the VIII Latin-American Contemporary Music Course, held in S. J. del Rei, Minas Gerais State, on January 1970, Vinholes gave classes on aleatory music and on the new “time-space technical principles for music structures”. The classes were attended by young composers who participated in the analysis of the works TIME-SPADE I and II. After attending the above-mentioned course, the Uruguayan composer Elbio Rodrigues wrote a string quartet based on the technical principles proposed by Vinholes. Invited by the IV Summer Course of Brasília, Vinholes gave a lecture in January 1979, on the aleatory and the structural in his own works.

Vinholes´ works written according to the principles proposed by himself became widely know after December 23, 1963, when his Time-Space VI, also called Kasumi (Mist), was presented at the First International Festival of Contemporary Music, in Osaka, Japan, by the Festival Chamber Orchester, under the direction of Yuzo Toyama, in a program which includes works by Arnold Schoenber, Bo Nielson, Karlhein Stockhausen, Krzyszoff Pendercki and Shinnichi Matsushita.

Vinholes devoted himself to avant-garde music and poetry and was the first Brazilian to create aleatory music; he studied in São Paulo and went to Tokyo in 1957, on a scholarship from the Japanese government; he organized exhibition on Brazilian culture, among them the Exhibition of Brazilian Contemporary Music in Tokyo on April 1977; he was the delegate and observer of the Brazilian government to conferences and seminars sponsored by the International Society of Musical Education, the International Society of Art Critics and UNESCO; he was decorated in 1977 with the Order of the Sacred Treasurer from Japan; and his name was included in the Who´s Who International on Music (London, 1977). Presently he lives in Ottawa, Canada, and works for the promotion of Brazilian Music at the University level. He is planning a future exhibition of Brazilian composers works similar to the one organized in Tokyo.

The University of Brasília, in its Brazilian Music Collection, will publish the following works: per Sonar a Tre, by Gilberto Mendes; Music for Brass, by Murilo Santos; Prelude and Fugue in C, by Emilio Terrazza; Symphonic Structures, by Ricardo Tacuchian; Contrapoint Étude nº 3, by Maria Helena Costa; Trio for wind instruments, by Ernst Mahle; Diagrams II, by Rodolfo Coelho de Souza; Trio, by Osvaldo Lacerda; Édude nº 1, by Maria Helena Rosas Fernandes; and Quartet for Strings, by Eduardo Farias.

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