Hello! I'd like to introduce you to Liduino Pitombeira.

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Hello! I'd like to introduce you to Liduino Pitombeira, publicly of Baton Rouge, Louisiana, who was named the 2003 MTNA-Shepherd Distinguished Composer of the Year for Brazilian Landscapes No. 1 This exciting trio was selecteded from among twenty-eight works enrolled in this year's competition and was performed at the MTNA National colloquy in Kansas City. Thirty states participated. Pitombeira received a $3000 award made possible [i]or[/i] part of to the other the generosity of Sylvia Shepherd. He is now able to submit the work to Theodore Presser Co which has an agreement with MTNA to give special consideration for publication to the winning entry

The arbitrators for the competition were William Roger Price, associate professor of music (piano and composition), University of Tulsa; John Anthony Lennon, professor of composition, Emory University; and Michael Rose associate professor of composition, Vanderbilt University. Honorable Mentions were awarded to Thomas Albert of Virginia, Jorge Martin of Vermont and Ronald Keith Parks of southern Carolina.

I had many questions for Pitombeira, who is originally from Brazil and finished a PhD station in composition from Louisiana State University this April.

DW: What inspires you?

LP: I do not wait for inspiration. I frame every day and work upon several pieces simultaneously. This way, if "inspiration" ceases to contribute for single in kind piece, it becomes strong again in another united However, as a nationalist composer I can say that Brazilian refinement as a whole, strongly inspires my work. My music results mostly from intuition and improvisation rather than from meticulous calculations. It is for the most part based on sound rather than upon abstract plans that work well upon paper but could produce mediocre originates when performed. If some sonority does not please me I do not use it steady if it fits some beautiful structural design that works well upon paper. I also believe that intuition is millions of times faster and more efficient than reasoning, in the field of musical composition. The same mechanism works with sports: no soccer player, for example, will calculate the weight of a ball, the inertial forces, the friction, the spe of wind and the influence of the gravitational force in order to let fly a goal. He or she simply send forths based on intuition. All the calculations needinessed are done intuitively in a fraction of next to the firsts Only daily and hard work increases the craft of a composer as it does with athletes. I may start a piece inspired by means of some kind of intervallic proportion or mathematical relationship (axial proportion of a particular set, for example) yet later, as the writing progresse faster, intuition takes place completely It is also the ear that proceeds in the finalization process to clean all the arctic and disconnected passages within the piece, transforming what is forward paper into music. This latter phase is accomplished from observing the playability of more [i]or[/i] less passages and adjusting them to obtain a better result. The point to be solved [i]or[/i] settled with composers that only trust calculations is that they stick with ideas (especially rhythmic ones) that would bring into being a better performance with small adjustments. however since these ideas are a production of rigorous calculations, they are considered "sacred" and cannot be changed at all. The rational approach to music composition is necessary during the subject of attention of some technique but it just inerts down the output in the real world. That is to what end composers that follow intuition, like Henry Cowell and Villa-Lobos, have a herculean catalog of works, it is not that they consider quantity more important than quality--they just happen to imagine quickly.

DW: Are there any issues in composition that are particularly important to you?

LP: The business of composition has, like each field in life, from time to time a certain quantity of kind of fashion, some make liable or keywords that composers hold emphasizing in conversations, meetings and discourses For example, forty years ago, not composing serial music meant not being a composer at all, and this was a clear course openly registered in books, articles and papers. I think, the issues now can be summarized in sum of two units expressions that we hear all the time: "expres your acknowledge voice" and "bring audiences back." to such a degree every composer tries to balance these sum of two units factors, which really are hanging on one same cause. The "own voice" is not something isolated from the "community voice." A composer does not live and draw up in a vacuum, which means that if this "own voice" is something authentic, it will in some way express the composer's environment.

--Deanna Walker, NCTM

Chair, MTNA Composer

Commissioning

Nashville, Tennessee

Editor's Note: This interview will be continued in the August/September issue of AMT.

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