Paulo Costa Lima

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Paulo Costa Lima (born 1954 in Salvador, Bahia) is a senior Brazilian composer and music theorist, which has won more than 20 national and international Prizes and Comissions along his career. A member of the Brazilian Academy of Music, Lima's main interest is the interaction between composition and culture, including its political aspects, namely composition as a way of resisting colonization and against the "waste of experience," [1] the traditional circuit in which ideas (theory) are produced elsewhere and absorbed by the peripherical South of the Globe, as if the experience of populations in the periphery would be incapable of producing theory grounded musical practices. [2] Lima's publications are on topics such as the theory and pedagogy of musical composition (the notion of compositionality, for instance), [3] analysis and history of Brazilian contemporary music [4] analysis of Brazilian popular songs, [5] the possible dialogue between music and psychoanalysis, [6] and cultural semantics. Lima's compositional interests include the rhythmic tradition of the Candomblé. From 2020 on, Lima has been posting short video analysis of brazilian popular songs (usually showing aspects completely surprising to the general public) generating great interest in the social media, leading to a public of more than 200.000 people [7]

Contents

Early life and education

Born in Salvador, Bahia, Brazil in 1954, [8] Lima studied composition with Lindembergue Cardoso and Ernst Widmer in Brazil, and Ben Johnston and Herbert Brün at the University of Illinois in the United States. He has two doctoral degrees (UFBA and USP). For one, he wrote his thesis on the pedagogy of music composition; [9] for the other, he analyzed Ernst Widmer's octatonic strategies. [10] His first doctorate led to the Copene Prize in 1999 and the publication of a book [11] and an abbreviated version of the second was published in the Latin American Music Review in 2001. [9] [10]

Career

Lima became a professor at the Universidade Federal da Bahia in 1979 and has held several positions there, including Director of the Music School (1988–1992) and Assistant Provost (1996–2002). [9] His composition students have included Paulo Rios Filho, Alex Pochat, Guilherme Bertissolo, Tulio Augusto, Vinicius Amaro, Paulo Cesar Santana, Pedro Amorim Filho, and Danniel Ferraz, among others. [12] Lima is part of the second generation of the movement initiated by the Group of Composers of Bahia, which rejects implicit compliance to existing standards. [13] The movement's brief manifesto - "In principle, we are against all and every principle" - besides its anarchic orientation also implies that all suggestions are valid and acceptable and stresses the importance of inclusivity [14]

Lima's compositions have been performed by the Orchestra of the Federal University of Bahia several times (1987, Ritorna Vivaldi, 2016, Cavalo Marinho, 2018, Alá, Reitoria da UFBA), by The Bahia Ensemble (1993, Atotô do L'homme Armé), The American Conposers Orchestra (1996, L'homme Armé, Carnegie Hall), Juilliard New Music Ensemble (2001, Atotô do L'homme Armé, Lincoln Center), Los Angeles Philarmonic Orchestra (2003, Atotô do L'homme Armé, Benaroya Hall), by the Bahia State Orchestra (1986 Halley Ouverture, 2005 Eine Kleine Atotô Muisk, 2017 Tempuê, 2021 Alá and Atotô do L'homme Armé, 2022, Zaratempo dedicated to the 40th anniversary of the Orchestra, Teatro Castro Alves) UFRJ Orchestra (2013, Bahia Concerto op. 98), [15] São Paulo State Symphony Orchestra (2000. Serenata Kabila, 2015 and 2019, Cabinda: We are black op. 104 and 2021, Oji: Chegança e ìmpeto, all of them commissioned), Neojibá Orchestra (2015, Seven arrows op. 102, Teatro Municipal Rio de Janeiro), São Paulo Chamber Soloists (2021, Concertino for Clarinet, New York, Americas Society at Park Avenue), Utah Symphony Orchestra (2022, Oji, Abravanel Hall), Campinas Symphonic Orchestra (2016 and 2024, several works), Porto Alegre Symphonic Orchestra (2023, Alá), USP Symphonic Orchestra (Alá, 2023), USP Chamber Orchestra (Atotô, ECAM, 2024), GRUPU (2017, Chega de Caboclo, Unidersidade de Campinas and European Tour) and the Essen Festival für Neue Musik (Cauíza for 10 percussionists, 2017). [16]

His works have been performed more than 600 times in more than 25 countries in locations such as Konzerthaus Berlin, Carnegie Hall, Lincoln Center, Benaroya Hall, De Rode Pomp, Sala Cecília Meireles, Sala São Paulo, and Teatro Castro Alves. [17] He was included in the New Grove Dictionary of Music and Musicians in 2001 in an article written by Gerard Béhague [18] and, in 2016, the State University of Campinas held a festival in his honor. [19]

More recently,in 2011, Lima has proposed the notion of compositionality – the attributes of that which is composed – involving at least five dimensions: the "invention of worlds;" "commitment to critique", in other words, if a world is invented it interprets everything from its standpoint, composition id interpretation after all; "reciprocity" or playing with identities (when I writes something, something is written in him/her); the continuous interaction between theory and practice; and the "field of choices" (it is impossible to compose without making choices) [20] Ilza Nogueira observed in his 1993 composition Atotô do L'homme armé (op. 39) "a procedure of fusion of the appropriated elements (the melodic line and the rhythmic pattern), which compromises their identities and displaces them from their original signifying contexts". [21] [22]

Lima was president of the Fundação Gregório de Mattos, the cultural office of Salvador, between 2005 and 2008. [23] During his time in office, he created programs such as the Mestres Populares da Cultura (transl. Popular Masters of Culture), which recognized elderly citizens with a wide knowledge of ethnic-popular traditions [24] Other civic activities include Lima's organization of 456 capoeira performers, walking and dancing on the streets of Salvador to celebrate the anniversary of the city in 2005. [25] Lima also organized the Cultural part of the Sociedade Brasileira para o Progresso da Ciência meeting in Salvador in 2001, dedicated to promote the relationship between arts and sciences. [25] In the last four years Lima has dedicated himself to an intense work of cultural diffusion through the social media, publishing videos with analytical interpretations of brazilian most well known popular songs, leading to the formation of an audience of more than 200.000 followers in Instagram, TikTok and Facebook. In 2023 and 2024 he was invited to be the key note Speaker for the annual meetings of the Associação Nacional de Pesquisa em Pós-Graduação e Música - ANPPOM [26]

Personal life

Lima married violinist Ana Margarida de Almeida Cerqueira Lima in 1976; they have two sons, Cláudio and Maurício.[ citation needed ]

Awards and honors

Lima has received awards from the Goethe Institut, Salvador 1985 (Ritorna Vivaldi for strings), Bienal de Música Brasileira Contemporânea Rio de Janeiro 1985 (String Quartet II), Max Feffer Prize (Ibejis, 1992), Vitae Foundation (1995), American Composers Orchestra (1996), Secretary of Culture in Bahia (2009), and Fundação Nacional de Artes (2013, 2015, 2017, 2019, 2021 and 2023) [11] In 1995 the piece Xiré was commissioned by the Secretary of Culture of the São Paulo State. In 2014 the piece Cabinda: nós somos pretos was commissioned by the State Orchestra of São Paulo, and the piece Oji: Chegança e Ímpeto in 2020. In 2017 the piece Cauiza for Percussion was commissioned by the Music Council of the City of Stuttgart - Germany. In 2022 the piece ZARATEMPO was commissioned by the Bahia State Orchestra for the occasion of its 40th anniversary. In 2024 the piece Serenata Concertante for Percussion was commissioned by the Orquestra Municipal de Campinas and the piece Soprei o mundo was commissioned by the Simpósio Ibero-Americano de Clarinete Bajo. He is a member of the Academia de Letras de Bahia and a founder-member of the Academia de Ciências da Bahia, which was created in 2011. The National Council for Scientific and Technological Development has considered him a recognized researcher since 2003. [8] In 2015, he won first place at the Bienal de Música Brasileira Contemporânea, through the indication of 85 brazilian composers and conductors. [8]

Works

Books

Albums

Articles

Some Performances

Compositions

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References

  1. ↑ Santos, Boaventura de Sousa (2004), ‘A Critique of Lazy Reason: Against the Waste of Experience’ in Wallerstein, Immanuel (ed.), The modern World-System in the Longue Durée Boulder. Paradigm Publishers, p. 157-197
  2. ↑ ART Music Review 025, set 2013, Paulo Costa Lima e Guilherme Bertissolo (Eds.)
  3. ↑ Teoria e prática do compor I: diálogos de invenção e ensino e Teoria e p´ratica do compor II: diálogos de invenção e ensino. Salvador, EDUFBA, 2012 e 2014
  4. ↑
  5. ↑ Lima, Paulo Costa. Música popular e outras adjacências. Salvador, EDUFBA, 2012
  6. ↑
  7. ↑
  8. 1 2 3 Catalogue: XXI Bienal de Música Contemporânea Brasileira; indication of Paulo Costa Lima for the first prize in 2015 (p.38)
  9. 1 2 3 Lima, Paulo Costa. Ernst Widmer e o ensino de composição musical na Bahia. Salvador, Copene/Fazcultura, 1999
  10. 1 2 Lima, Paulo Costa. Composition in Bahia, Brazil: Ernst Widmer and his octatonic strategies, Latin American Review, Vol. 22, No. 2 (Autumn - Winter, 2001), pp. 157-182
  11. 1 2
  12. ↑ Ferraz, Danniel (Org.) Composers of Bahia, Channel with video-scores
  13. ↑ Lima, Paulo Costa, "Group of Composers of Bahia", In: Routledge Encyclopedia of Modernism, Group of Composers of Bahia
  14. ↑
  15. ↑ Video of the premiere of Bahia Concerto op. 98 (2013) with Aleyson Scopel (Piano), Claudio Cruz (Conductor), UFRJ Orchestra
  16. ↑ Oehmen, Helde. "Percussion: Virtuosität und Perfektion", 11. Oktober 2017
  17. ↑
  18. ↑
  19. ↑ III Festival de Música Contemporânea Brasileira, 2016
  20. ↑ Ilza Nogueira, Entrevista. TeMA informativo, ano 1, n. 2, mai. 2017, Associação Brasileira de Teoria e Análise Musical
  21. ↑ Nogueira, Ilza. 2016. Contemporary Knowledge and Musical Creation: Ethic and Paradigms. MUSICA THEORICA. Salvador: TeMA, 201602, p. 1-21. Analysis of Atotô do L'homme armé op. 39
  22. ↑ Outros Ritmos (CD). 1996. Performance of Atotô op. 39 with Bahia Ensemble and Piero Bastianelli (Conductor)
  23. ↑ ABC da Fundação Gregório de Mattos (2008)
  24. ↑
  25. 1 2 SBPC Cultural, 2001. UFBA: Bahia, bahia, que lugar é esse?
  26. ↑
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