Works

Based on sketches from 92 and the Gloria from 94. Rehearsed with Estgad Varèse and Gonçalo Pena.

Instrumentation (detailed)

Voices	~ Soprano, ~ Alto, ~ Tenor, ~ Bass
Percussion	~ Percussion [Vibratone], ~ Percussion

Performer(s)

Program notes for the Credo: The legend states that the Credo is the most difficult part of a Mass for the composer, because of the length and complexity of its text. Ever since the first Mass composed (in the XIVth century), composers have used different musical resources - such as homophonic writting or division in parts - to deal with this difficulty, which seems to be more of a quantitative nature than qualitative. In my version of the Credo, I have divided it in different and characteristic parts. I used ostinati based on the first phrases of each section to work as musical accompaniment to the other parts of the text. I assumed a playfull aproach of the religious text, working with it as "lyrics", searching onomatopoeias and phonetical effects evoking different musical universes. The result is a small (pocket) ritual, emphasized by the use of vibratones (a sort of hand tubular bells). José Eduardo Rocha (April 2001)

Work	Type	Date	Organization/Event	Venue	Town	Country	Performers	Notes	Inv Row
Missa para Vozes Vulgares	Premiere	2004/Jun/07		Chagas Church	Lisbon	Portugal	Lisbon's Escola Superior de Música Choir Luís Almeida (direction)	Notes
Missa para Vozes Vulgares	Partial premiere	2003/May/28		ESTGAD	Caldas da Rainha	Portugal	Harém Vocal José Eduardo Rocha	Notes	Only "Gloria" and "Credo" were played.
Only "Gloria" and "Credo" were played.
Missa para Vozes Vulgares	Partial premiere	2001/Apr/29		Arroios Church	Lisbon	Portugal	S. Vicente Choir Luís Almeida (direction)	Notes	Only the "Credo" was played.
Only the "Credo" was played.