Antunes, Jorge

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Antunes, Jorge

Antunes, Jorge, Brazilian composer and teacher; b. Rio de Janeiro, April 23, 1942. He enrolled at the National School of Music at the Univ. of Brazil in Rio de Janeiro in 1960 to study violin; then pursued training in composition and conducting there (from 1964) with Henrique Morelembaum, José Siqueira, and Eleazar de Carvalho; also took courses in physics at the Univ. and studied composition with Guerra Peixe at Rio de Janeiro’s Pró-Arte. In 1969–70 he held a postgraduate scholarship at the Torcuato Di Telia Inst. in Buenos Aires and studied with Ginastera, Luis de Pablo, Eric Salzman, Francisco Kröpfl, and Gerardo Gandini. Following research under König and Greta Vermeulen at the Inst. of Sonology at the Univ. of Utrecht (1970), he went to Paris to work with the Groupe de Recherches Musicales de TORTFF (1971–73) and to study with Daniel Charles at the Sorbonne (Ph.D. in music aesthetics, 1977, with the diss. Son Nouveau, Nouvelle Notation). Antune’s avant-garde convictions prompted him to pursue experimental byways while he was still a student at the Univ. of Brazil when he founded the Chromo-Music Research Studio. In 1967 he organized the music research center and became a prof. of electro-acoustic music at the Villa-Lobos Inst. in Rio de Janeiro. In 1973 he became a teacher of composition at the Univ. of Brasilia, where he later served as prof. of composition and acoustics. He also oversaw its electronic music studio and founded the experimental music group GeMUnB. In 1972 he won Rio de Janeiro’s National Composition Competition, and in 1983 its Fuñarte Prize. In 1991 he was awarded the Vitae Prize of São Paulo.


DRAMATIC: Vivaldia MCMLXXV, chamber opera buffa (1975); Qorpo Santo, opera (1983); Olga, opera (1987–93); The Single-tone King, children’s mini chamber opera (1991). ORCH.: Seresta pra Juvenil for Strings (1966); Acusmorfose (1968); Tartinia MCMLXX for Violin and Orch. (1970); Isomerism for Chamber Orch. (1970); Poetica (1971); Idiosynchronie for Chamber Orch. and Electronics (1972); Scryabinia MCMLXXII for Piano, Lights, and Chamber Orch. (1972); Concerto para um Mes de Sol for Amplified Cello and Orch. (1974); Concerto para urn Mes de Neblina for Violin and Orch. (1992–93). CHAMBER: Insubstituivel Segunda for Cello and Tape (1967); Invocation en Defense de la Machine for 4 Percussionists and Tape (1968); Tres Comportamentos for Violin, Cello, and Piano (1969); Bartokollagia MCMLXX for String Quartet (1970); Tartinia MCMLXX for Violin and Piano (1970); Music for 8 Persons Playing Things (1970–71); Colludwiguia MXMLXXI for String Quartet (1971); Flautatualf for Flute (1972); Intervertige for String Quartet, Wind Quartet, 2 Percussionists, and Electronics (1974); Vortices for Wind Quintet (1975); Tres Impressões Cancioneirigenas for Flute, Viola, and Cello (1976); Sighs for Guitar (1976): Canto Esthereofonico for 7 Instruments and Tape (1978); Microformobiles III: Re-tornos for Violin and Piano (1982); Dramatic Polimaniquexixe for Clarinet, Cello, and Piano (1984); Modinha pour Mindinha for 7 Violas (1985); Serie Enfants for Violin and Tape (1987); Lecture for Bass Clarinet (1990); Amerika 500 for Flute, Bass Clarinet, Percussion, Piano, Viola, and Cello (1992). VOCAL: Missa Populorum Progressio for Chorus and Tape (1967); Acusmorfose 1970 for 2 Narrators, 2 Choruses, and 2 Orchs. (1969); Concertatio I for Vocal Trio, Orch., and Tape (1969); Proudhonia for Chorus and Tape (1972); Catastrophe Ultra-violette for Chorus, Orch., and Tapes (1974); Elegie Violette pour Monseigneur Romero for 2 Child Soloists, Children’s Chorus, Piano, and Chamber Orch. (1980); Arbres de Lasar for Chorus (1988); Quatre Petites Pièces de Peuple for Chorus (1991). OTHER: Microformobiles II for Flute, Clarinet, Viola, Cello, Percussion, Baritone, and the Public (1972); Source for Mezzo-soprano, Flute, Viola, Cello, Piano, Synthesizer, and Tape (1974); Coreto for Flute, Clarinet, Horn, Viola, Cello, Piano, and 3 Amateur Actors (1975); Source vers SP for Dancer, Synthesizer, Flute, Oboe, Mezzo-soprano, Piano, Horn, Viola, Cello, Tape, Amplification, and Lights (1975); Sinfonia das Diretas for Orch., Declamation, Choruses, and Tape (1984).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire