for four percussionists.

I have never ever intended to be a “Brazilian” composer, even though I am, really, Brazilian, and a direct descendant of the Brazilian Nationalist School. Having studied with students of nationalist musicians like Fructuoso Vianna and Camargo Guarnieri, I am in a way their grandson. But I never went that way, the way or the National, I mean. Nonetheless, I do know a great deal of Brazilian Music, popular, erudite, folklore. And what is mine is mine and in this respect I do as I please. OK, they say Brazilian musicians are fond of rhythm. Well… good grief. A quite huge number of sins have already been committed in this regard, but, honestly, when the problem is pure, blatant “homesickness”, who stops to worry about stereotypes? What is “in you” is “in you” and I couldn't care less. And so there happily I went to collect Maracatus, Cocos, Baiões, Xaxados, Frevos, Northeastern Brazilian dances, for a change. I cooked them all inside a big frying pan, exaggerating their physiognomies, distilling from their profiles some kind or essence, of hyperbole of their most distinctive traits. What can I say, you know, sometimes I just want to have fun and dance like a madman, with a cangaceiro hat, a knife, and a grin on the face, bold like lhe bandit Lampião of the popular story where he knocks at the doors of Hell promising to set all in flames and havoc if the doorman fails to meet his demands of seeing “the boss”.
Well, perhaps not that dramatic, but … yes.

score:

recording:

The SO Percussion Quartet

Lampeão disse: — Vá logo
Quem conversa perde hora
Vá depressa e volte logo
Eu quero pouca demora
Se não me derem o ingresso
Eu viro tudo asavesso
Toco fogo e vou embora.
(José Pacheco: A Chegada de Lampião no Inferno)