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Jorge Antunes (Brazil, 1942)
composed operas such as Qorpo Santo (1983) and Olga (1997),
chamber music such as Mascaruncho for two violas (1977), Modinha para Mindinha for seven violas (1985), Klarinettenquintett and Amerika 500 (1992), the latter two documented on Musica da Camara I (1997),
and electronic music, mostly compiled on
Music Eletronica (1975) and
No Se Mata La Justicia (1981).
His main achievements might be in the field of
electroacousting chamber music, to which he gave compositions such as
Catastrofe Ultra-Violeta (1976) for male choir, orchestra and tape,
Source (1974) and
Vivaldia MCMLXXV (1975),
both on Jorge Antunes e o GeMUnB (2002),
Miro Escucho Miro (1998) and
Toccata Irisee (2003), both on
Musica da Camara II (2010).
In Defense Of The Machine (Pogus, 2013) contains pieces that are
mostly of historical interest only, such as
Insubstituivel 2 (1967) for cello and tape, and
Invocation in Defense of the Machine (1968) for four percussionists, four metronomes and electronics,
but also Mixolydia (1995), a duet between theremin and electronic tape
that ends with a dramatic confrontation,
Miro Escucho Miro (1998), a duet for piano and tape that alternates
between sections of cacophony and quasi-romantic sections,
whose melodic elements are based on the Mixolydian scale used in ancient Greece,
and Toccata Irisee (2003), a duet between marimba and tape that relies
on a complex score for the marimba.
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