A few days ago, the New York Philharmonic gave the world premiere of my piece Fibers, Yarn and Wire. Before I go into the details, I’d like to say that I could not be happier with the performances. I cannot fully describe the intensity of watching and listening to those musicians playing my piece. It was a profound experience.

I began to write this post only a few minutes after the first rehearsal of my work Fibers, Yarn and Wire with the New York Philharmonic, under the auspices of maestro Alan Gilbert. The rehearsals are taking place in the Grace Rainey Rogers Auditorium at the Metropolitan Museum.

In anticipation of the world premiere of Alexandre Lunsqui's New York Philharmonic-commissioned Fibers, Yarn and Wire this Friday, December 16 and Saturday, December 17 at the Metropolitan Museum and Symphony Space, respectively, Q2 Music presents an exclusive chance to get to know the composer behind this season's NY Phil CONTACT! new-music series. 

Drawings for Iberê was inspired by a series of paintings called Spools, by Brazilian painter Iberê Camargo (1914-1994). These works depict numerous images of spools, which occupy an important part of the painter’s childhood memories. The paintings range fromfigurativism to abstractionism, exploring a wide range of visual and psychological configurations. In Drawings for Iberê, the kinetic elements present in most of the abstract paintings of the series are especially considered. Various notions of movement – from amorphous outbursts of sounds to repetitive and crystalline rhythms - are at the core of the piece. The work is divided in six sections, exploring the multiple configurations of Iberê’s Spools series. The piece was premiered by the Nieuw Ensemble at the Musiekgebouw in Amsterdam, 2009.