Works

to Miguel Azguime

Instrumentation (detailed)

Winds and Brass	Flute, Oboe, Clarinet (Bass Clarinet), Trumpet, Horn, Trombone
Keyboards	Piano
Strings (plucked / bowed)	Violin, Viola, Cello

Performer(s)

Pedro Amaral wrote his first acknowledged work, "...Textos, Paráfrases, Perspectivas..." , in 1994, and, knowingly or not, set out his musical programme. As its title suggests, the piece develops some initial ideas ('texts') by means of paraphrase and projects them along different perspectives. On the larger scale of a dozen years rather than twenty minutes, this Opus 1 can be recognized as affirming general principles-harmonic, rhythmic, gestural, formal-whose implications and possibilities the composer has gone on discovering. The work is also characteristic in having the piano at its centre, joined in this case by trios of strings, upper woodwinds and brass - an ensemble just adding a cello to the nine instruments of Webern's Concerto (though Varèse is this music's nearer forefather). As the central or source instrument, the piano begins the piece alone, calling out from an otherwise silent stage, and doing so by means of motifs that will determine what follows: an arpeggio rising like a summons, some crucial intervals, the element of repetition. More than three minutes have gone by before other instruments start to wake up, and then quite soon these other instruments take over as an eruptive tutti, out of which the brass lead emphatic descents. There are episodes for soloists and groups, including the string trio in a lengthy stretch of entanglement looking forward to Amaral's quartet of 2003. From here the whole wind-string nonet gets going again, often juddering with energy, until, with sustained sounds, the atmosphere becomes conversely lost and bleak. A flute solo is seemingly countered by the rest of the ensemble, with the string trio briefly spotlit. Then everyone is quietened by the reappearance of the piano, leading back to its initial proposals, as if dissatisfied with the outcome it has generated, waiting for further paraphrases and perspectives. Paul Griffits

Work	Type	Date	Organization/Event	Venue	Town	Country	Performers	Notes	Inv Row
...textos, paráfrases, perspectivas...	Performance	2000/Apr/07		Echtzeithalle im Einstein	Munich	Germany	Piano Possibile Carl Christian Bettendorf (conductor)	Notes
...textos, paráfrases, perspectivas...	Performance	2006/May/01	Court Circuit Season	Cervantes Institut	Paris	France	Jean-Marie Cottet (piano)	Notes	Piano cadences only.
Piano cadences only.
...textos, paráfrases, perspectivas...	Premiere of revised version	1996/Jan/01		Conservatoire National Supérieur de Musique et de Dance de Paris	Paris	France	Ensemble Intercontemporain David Robertson (conductor)	Notes	Reading of the work without audience for academical purposes.
Reading of the work without audience for academical purposes.
...textos, paráfrases, perspectivas...	Performance	2005/Sep/21		Le Grenoble	Naples	Italy	Andrea Corazziari (piano)	Notes	Piano cadences only.
Piano cadences only.
...textos, paráfrases, perspectivas...	Performance	2005/Sep/20		Villa Medici	Rome	Italy	Andrea Corazziari (piano)	Notes	Piano cadences only.
Piano cadences only.
...textos, paráfrases, perspectivas...	Premiere	1994/May/01			Lisbon	Portugal	Pedro Amaral (conductor)	Notes

Documents
	Type (+ sub-type)	Cover/edition title Document title	Authors	Referring to	Publisher	Date
	Audio	...textos, paráfrases, perspectivas...		...textos, parafrases, perspectivas... Pedro Amaral		1997
	Audio	Pedro Amaral Works for Ensemble London Sinfonietta, Pedro Amaral  ...Textos, Paráfrases, Perspectivas...		...textos, parafrases, perspectivas... Pedro Amaral Pedro Amaral	Fundação Calouste Gulbenkian	2007 2006
	Scores	...textos, paráfrases, perspectivas...		...textos, parafrases, perspectivas... Pedro Amaral