Score: Tetragrammaton II

Roberto Victorio – [email protected]
  Universidade Federal do Mato Grosso

Greek word which represented the mysterious and unpronounceable name of God.

In the Seventeenth Century, the important philosopher and alchemist Jacob Boheme used to refer “Tetragrammaton” as a tetragramma divided in three tables (or stages) which define the genesis of universe, or three baselines that through the divine revelation are materialized to the man. The numbers three and four are combined in a symbiotic relationship under the sevenfold force that sets the actions between the worlds through expanded reflexive projections. This quarternary vector is the focal point in the writing process of the work (which is the second in a cycle of sixteen works for different groups of instruments) as an interplay of compressing and expanding of four proportions throughout the work. This process is accomplished through notational and instrumental couplings, pace volatility, chordal formations and genetic archs whose form the sonic framework in consonance to the noticeable quaternary axis, based on the Boheme’s texts and the proportions established by him for these materializations.