Peixinho, Jorge (Manuel Rosada Marques)
Peixinho, Jorge (Manuel Rosada Marques)
Peixinho, Jorge (Manuel Rosada Marques), Portuguese composer and teacher; b. Montijo, Jan. 20,1940. He received training in piano and composition (with Santos and Vasconcelos) at the Lisbon Cons. (1951–58). After attending the Univ. of Lisbon (1959), he studied composition with Nono in Venice (1960) and Petrassi and Porena at the Accademia di Santa Cecilia in Rome (1960–61). Between 1960 and 1970, he attended the summer courses in new music in Darmstadt, and in 1962–63 he studied at the Basel Academy of Music. In 1965–66 he taught at the Oporto Cons. In 1970 he became director of the Grupo de Música Contemporanea in Lisbon. He was prof, of composition at the National Cons, in Lisbon from 1985. In 1974 he received the Gulbenkian Prize. In 1988 he was awarded Portugal’s Medal of Cultural Merit. Peixinho is one of the leading avant-garde composers of Portugal. In developing his own advanced compositional course, he has experimented with almost every resource available to the contemporary composer.
dramatic:O gebo a sombra, theater music (1966); Recitativo II, music theater (1966–70); As quatro estações, theater music (1968); Shakespeare’s Sonnets, ballet (1970); Mariana Pineda, theater music (1975); film music. orch.:Polípticofor Chamber Orch. (1960); Sobreposições (1960); Saxophone Concerto (1961); Diafonia for Harp, Harpsichord, Piano, Celesta, Percussion, and Strings (1962–65); Kinetofonias for 25 Strings and 3 Tapes (1965–69); Nomos (1967); Sucessões simétricas II (1971) and III for Chamber Orch. (1974); Voix-en-jeux (1972–76); Retrato de Helena (1982); Concerto de outono for Oboe and Orch. (1983); Viagem da natural invenção (1991). chamber:Do espressioni for Trumpet and Harpsichord (1959); Evocação for Flute, Oboe, Clarinet, Harp, Vibraphone, and Xylophone (1960); Episódios for String Quartet (1960); Imagens sonoras for 2 Harps (1962); Domino for Flute and Percussion (1963–64); Sequência for Flute, Celesta, and Percussion (1963–64); Morfocromia for 12 Instruments (1963–68); Situações 66 for Flute, Clarinet, Trumpet, Harp, and Viola (1966); Recitativo III for Flute, Harp, and Percussion (1966–69), V for Octet (1966–74), 7 for Harp (1971), and IV for 8 Instruments (1974); As quatro estações for Trumpet, Harp, Piano, and Cello (1968–72);C D E for Clarinet, Violin, Cello, and Piano (1970); A idade do ouro for 2 Clarinets, 2 Violins, Organ, Piano, Harp, and Harpsichord (1970–73); Quatro pecas para setembro vermelho for Chamber Ensemble (1972); Ma Fin est mon commencement: Homage to Machaut for Trombone, Viol, Viola, Harp, Recorders, Piano, and Celesta (1972); Welkom for Violin and Viola (1972); Morrer em Santiago for 6 Percussion (1973); ...e isto é só o início, hein? for Chamber Ensemble (1975); A aurora do socialismo: Madrigale capricciosoîor Flute, Horn, Violin, Piano, Percussion, and Short Wave Receiver (1975); Canto da sibila for Clarinet, Piano, Percussion, Lights, and Smells (1976); Solo for Double Bass (1976); Elegia for Trombone, Viola, Piano, and Percussion (1976); Madrigal II for Clarinet Quintet (1977); Música en água e mármore for 7 Instruments (1977); Lov II for Cello, Flute, Piano, and Percussion (1978); Faites vox jeux for Flute, Cello, Harp, and Piano (1979–81); Mémoires...miroirs...for Amplified Clavichord and 12 Strings (1980); Warsaw Workshop Waltz for Clarinet, Trombone, Cello, and Piano (1980); Ciclo-Valsa for Variable Instrumental Ensemble, Percussion, Velophonem, Music Boxes, and Voices ad libitum (1980–85); Novo canto da sibila for Clarinet, Piano, and Percussion (1981); Sax-Blue for Alto Saxophone or Sopranino Saxophone and Electro-acoustics (1982–85); Serenata per A for Flutes, Guitar, Piano, and Percussion (1983);O jardim de Beiisa for 7 Instruments (1984); Metaformoses for Bass Clarinet and 7 Instruments (1984); Remake for Flute, Cello, Harp, and Piano (1985); Ougam a soma dos sons que soam for 9 Instruments (1986);O quadrado azul for Oboe, Viola, Double Bass, and Piano (1987); Passage intérieur for Saxophone and Electric Instruments (1989); Alis for 15 Instruments (1990); Glosa I for Piano, II for Flute, III for Violin, and IV for Cello (all 1990); Fantasia- impromptu for Alto Saxophone and Piano (1990); Mediterrãnea for 7 or 8 Instruments (1991). vocal:Fascinaçāo for Soprano, Flute, and Clarinet (1959); Alba for Soprano, Mezzo-soprano, Women’s Chorus, and 11 Instruments (1959); Triptico for Solo Voices and Instrumental Ensemble (1959–60); A cabeça do grifo for Soprano, Mandolin, and Piano (1960; also for Soprano, Viola, Harp, and Piano, 1980); Coração habitado for Mezzo-soprano, Flute, Cello, and Piano (1965); Euridice reamada for Solo Voices, Chorus, and Orch. (1968); Voix for Mezzo-soprano and Chamber Orch. (1972); A lira destemperada for Soprano, Trombone, and Percussion (1973); Madrigal for Chorus (1975); Leves véus ceiam for Soprano, Flute, Viola, Harp, and Marimba (1980); Canto para Anna Livia for 3 Women’s Voices and 11 Instruments (1981); A flor das águas verdes for 15 Voices (1982); Ulivi aspri e forti for Mezzo-soprano and Piano (1982; also for Mezzo- soprano, Flute, Clarinet, Trumpet, Harp, Guitar, Viola, and Cello, 1984); Greetings for Mezzo-soprano, Flute, Bassoon, Cello, and Percussion (1985); Llanto por Mariana for Soprano, Flute, Clarinet, Piano, and String Quartet (1986); Credo for Tenor, Alto Saxophone, Piano, Double Bass, and Percussion (1988); A capela de Janas for Soprano and Instrumental Ensemble (1989); Memoría de Martlia for Soprano, Baritone, Oboe, Clarinet, 2 Guitars, Violin, and Cello (1990); Cantos de Sophia for Chorus (1990). electronic:Elegia a Amilcar Cabral (1973); Luis Vaz 73 (1973–74); Electronicolirica (1979); Canto germinal (1989).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire