WILLIAN LENTZ
Composer & Conductor
ABOUT
Willian Lentz is currently based in Curitiba, Brazil, where he works as a composer, conductor, classical guitarist and music teacher.
He received his Master's degree in Music from the Federal University of Paraná-UFPR, with a specialization in Musical Composition, under the guidance of Maurício Dottori, and a Bachelor's degree in Composition and Conducting from the School of Music and Fine Arts of Paraná (UNESPAR-EMBAP), where he received guidance from Harry Crowl and Felipe de Almeida Ribeiro. He has participated in several composition master classes with composers such as Stefano Gervasoni, Stratis Minakakis, Jorge Grossmann, Roseane Yampolchi, João Pedro Oliveira, Tatiana Catanzaro, Januibe Tejera, Detlef Heusinger, Aylton Escobar, and Roberto Victorio. As a conductor, he was mentored by Claudio Cruz at the School of Music of the State of São Paulo-EMESP Tom Jobim, and in conducting workshops by Jamil Maluf, Stefan Geiger, Osvaldo Ferreira, Abel Rocha, and Roberto Tibiriçá.
Currently, he is pursuing his Doctoral degree at the São Paulo State University-UNESP, under the guidance of Flo Menezes.
Willian has participated in several festivals and symposiums in Brazil, including the 46th Campos do Jordão Festival, SESC International Music Festival in Pelotas-RS, Música Agora na Bahia-MAB, Oficinas de Música de Curitiba, New Music International Symposium (Curitiba-PR), Bienal Música Hoje (Curitiba-PR), and the Symposium of Aesthetics and Philosophy of Music-UFRGS.
In 2019 he attended the Valencia International Performance Academy & Festival-VIPA.
In 2020, Willian was awarded the second prize at the KLK New Music Composers' Competition for his work, Ar Diamantinado for string orchestra.
Recently, his chamber opera, A Fome dos Cães (The Hunger of Dogs), with libretto by Carina Murias, was premiered at Theatro São Pedro (São Paulo/Brazil), through Theatro São Pedro Lyric Composition Atelier.
In 2022, participated in the JACK Studio workshop, where the second movement of his String Quartet No. 1 was performed. In the same year, he was a finalist in the 11° Tinta Fresca Festival promoted by the Minas Gerais Philharmonic Orchestra, and his work Cores Trasversais, for chamber orchestra, was premiered by the Philharmonic Orchestra of the Federal University of Paraná.
His work A Máquina Entreaberta, for baritone, bass clarinet, percussion, piano, viola and cello, commissioned by Festival Amazonas de Ópera was premiered in June 19th, 2021.
Willian's works have been performed in several states of Brazil, including Paraná, Rio Grande do Sul, Minas Gerais, São Paulo, and Bahia, and his works and arrangements have been premiered in Spain, Italy, Ukraine, and England.
He is a member of the composers collective Círculo de Invenção Musical (Musical Invention Circle) from Curitiba, with which produces new music concerts and projects, and had been participated of the most important new music events in Curitiba, such as the New Music International Symposium and the Bienal Música Hoje.
As a conductor, he was invited by the Youth Orchestra of the State of São Paulo, UFPR Philharmonic Orchestra, Artistic Groups of the UFPR Arts Department, among others. He was the director of the Guitar Orchestra of the Escola de Música e Belas Artes do Paraná/UNESPAR, and conducted several groups from this University, such as the String and Symphonic Orchestras, Choir and independent chamber ensembles.
Currently, he works as a conductor, musical director, and coordinator of the Youth String Orchestra of Solidarity Foundation (Curitiba-PR) http://fundacaosolidariedade.org/site/.
PARTICIPATION IN SYMPOSIUMS AND FESTIVALS, COMMISSIONED COMPOSITIONS, AND AWARDS AS A COMPOSER
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2023 - Premiere of Traços em meia-luz, for piano and electronics, Fragmentos do Ocaso, acousmatic, and Gestos Lacerados, for electric guitar and live electronics, at 6th SiMN – International Symposium of New Music, in Curitiba-PR-Brazil.
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2022 - Premiere of the chamber opera A Fome dos Cães, through Theatro São Pedro Lyric Composition Atelier.
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2022 - Premiere of Cores Trasversais, for chamber orchestra, by the Philharmonic Orchestra of the Federal University of Paraná.
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2022 - Finalist in the 11º Tinta Fresca Festival promoted by the Minas Gerais Philharmonic Orchestra.
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2022 - JACK Studio Workshop. Performance of the second movement of the String Quartet No. 1. https://jackquartet.com/willian-lentz
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2021 - Premiere of multitudinous seas for pandeiro and electronics, at the 5th edition of the SiMN – International Symposium of New Music, in Curitiba-PR-Brazil. With the Cículo de Invenção Musical composers collective, on October 4th. http://simn.com.br/brochure.pdf
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2020 – Festival Amazonas de Ópera. Comission for A Máquina Entreaberta, for baritone, bass clarinet, percussion, piano, viola and cello.
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2020 – 2nd prize at KLK New Music MUSICA PER ARCHI | Music Composers’ Competition 2020-5th Edition, in Lviv-UKR, with the work Ar Diamantinado for string orchestra. Score published by Aldebaran Editions: https://aldebaraneditions.com/prodotto/willian-lentz-ar-diamantinado/
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2019 – Valentia International Performance Academy & Festival. Premiere of the first movement of the String Quartet No. 1 by Mivos Quartet. Composition masterclass with Stratis Minakakis, Jorge Villavicencio Grossmann and Stefano Gervasoni.
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2019 – Círculo de Invenção Musical Collective Concert (Curitiba/PR-BRA) Premiere of Toccata for two guitars.
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2018 – Festival Internacional de Percussão de Curitiba – premiere of Hephaistos, for two percussionists (commissioned by UM2UO).
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2018 – Composition of Atmosfera Cambiante (commissioned by Dúo Bordona) and composition of A Ilusão do Fascínio (commissioned by Grupo Sextante), both have not premiered yet.
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2018 – 35ª Oficina de Música de Curitiba-PR-Brazil. Masterclass of Instrumental Writing and Interval Techniques and Contemporary Composition with Flo Menezes and Maurício Dottori. Premiere of the miniature Permutações, for horn and percussion.
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2017 – IV Bienal Música Hoje (Bienal Music Today)-Curitiba-PR-Brazil. Premiere of Topázio em Flor! for bass clarinet.
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2017 – Graduate composition of Dos Vazios da Terra, A Vertigem, for mixed septet.
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2016 – Territórios de Invenção Project – Residency at Belo Horizonte-MG-Brazil. Composition and conducting masterclass with Roberto Victorio (Brazil). Conduction of Hipercanon for four percussionists, by Victorio. And premiere of bençã for riq solo.
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2014 and 2016 – 2nd and 3rd International Symposium of New Music-Curitiba-PR-Brazil. Reading Session with the pianist Catarina Domenici (Brazil), work: um eco de tumultos e de sombras, and Reading Session with the flutist Mark McGregor (Canada), work: Um centímetro acima da pele; respectively.
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2015 and 2016 – 5th and 6th SESC International Music Festival of Pelotas-RS-Brazil. Composition masterclass with Leonardo Martinelli (Brazil) and Januibe Tejera (Brazil/France); respectively. Premiere of Flageolett for guitar solo.
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2015 – Premiere of the Concertino for guitar and chamber orchestra (playing classical guitar).
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2015 – 46th International Winter Festival of Campos do Jordão-SP-Brazil. Composition masterclass with Aylton Escobar (Brazil). Premiere of La Petite Fanfare Ionique for horn, trombone and snare drum, and of Espelho de Mercúrio for brass quintet and percussion.
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2015 – Premiere of Mborai for soprano, flute and classical guitar, Reflexos Luminescentes, miniature for solo violin, and Parallels for wind quintet, at III Bienal Music Today-Curitiba-PR-Brazil.
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2015 – Premiere of Sinestesias, commissioned by the Concert Band Filarmônica Antoninense (Brazil).
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2015 – 2nd Symposium of Contemporary Music-MAB-Música de Agora na Bahia-Salvador-BA-Brazil. Premiere of BANG!, for chamber ensemble, conducted by Jean-Sebastien Béreau (France).
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2013 – Undergraduate composition of Da Transfiguração da cor , for mixed septet.
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2013 – 2nd Prize at Renée Devraine Franck Composition Contest, sponsored by Music and Fine Arts School of Paraná – EMBAP/UNESPAR.
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2012 – 3rd Prize at Renée Devraine Franck Composition Contest, sponsored by Music and Fine Arts School of Paraná – EMBAP/UNESPAR.
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2010 – 1st Prize at Renée Devraine Franck Composition Contest, sponsored by Music and Fine Arts School of Paraná – EMBAP/UNESPAR.
WORK AND EXPERIENCE AS A CONDUCTOR
2016 (current) – Conductor of the Solidarity Foundation Youth String Orchestra, Curitiba-PR, also working as a coordinator, arranger, composer and musical theory teacher.
2022 - Guest conductor of the Philharmonic Orchestra of the Federal University of Paraná.
2020 – Active student at 6ª Orchestral Conducting Workshop of the Santo André Symphonic Orchestra, at São Paulo-Brazil, with Maestro Abel Rocha (Brazil).
2020 – Active student at Orchestral Conducting Masterclass at the 37th Oficina de Música de Curitiba, with Maestro Abel Rocha (Brazil).
2017 – 2019 – Orchestral Conducting Masterclass with Maestro Claudio Cruz (Brazil) at the Music School of the State of São Paulo (EMESP Tom Jobim).
2019 – Guest conductor of the Philharmonic Orchestra of the Federal University of Paraná and of ensemble of the Department of Arts of UFPR.
2019 – Listening student at the 11th Laboratório de Regência of the Minas Gerais Philharmonic. Masterclass with Maestro Fabio Mechetti (Brazil/USA).
2019 – Conducting masterclass with Maestro Roberto Tibiriçá (Brazil).
2018 – Guest conductor of the São Paulo State Youth Symphonic Orchestra. Didactic Concert.
2015 – Assistant conductor of the Students Philharmonic Orchestra. Nova Acrópole, Curitiba-PR.
2014 – Conducting masterclass with Maestro Osvaldo Ferreira (Portugal).
2013 – Conducting masterclass with Maestro Stefan Geiger (Germany).
2013 – Assistant conductor of the Philharmonic Orchestra of the Federal University of Paraná Federal University of Paraná Curitiba-PR.
2012-2013 – Conductor of the Big Band of the Music and Fine Arts School of Paraná.
2009-2013 – Conductor of the Guitar Orchestra of the Fine Arts School of Paraná, Curitiba-PR, also working as an arranger and composer.
2008-2014 – Conductor of the Mokiti Okada Choir at the World Messianic Church of Brazil, Curitiba-PR, also working as an arranger, composer and voice coach.
WORKS
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Traços em meia-luz (2023) – piano and electronics – 8'
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Fragmentos do Ocaso (2023) – fixed media – 10'
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Gestos Lacerados (2023) – guitar and electronics – 19'
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Murmúrios (2023) – flute and double bass – 9'
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Magical Creatures Suite (2023) - youth string orchestra - 9'
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A Fome dos Cães (2022) – chamber opera – 27’
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Cores Transversais (2022) – chamber orchestra – 7’
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multitudinous seas (2021) – Brazilian tambourine and electronics – 7’
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A Máquina Entreaberta (2020) – baritone, bass clarinet, percussion, piano, viola and violoncello – 16'
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Cores Dissolutas (2020) – full orchestra (3.3.3.3-4.3.3.1-timp. -2 perc. -1 harp-16.14.12.10.8) – 10’
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Toccata (2019) – two guitars – 6’
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String quartet No. 1 (first and second movements-) (2019-2020) – in progress
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Fulgurações Cetíneas (2019) – full orchestra (3.3.3.3-4.3.3.1-timp. -2 perc. -1 harp-16.14.12.10.8) – 13’
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Hephaistos (2018) – two percussionists – 9’
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Atmosfera Cambiante (2018) – flute and two guitars -13’
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Ar Diamantinado (2017) – string orchestra – 10’
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Topázio em Flor! (2017) – bass clarinet – 10’
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noite curva (2017) – mandolin and bass clarinet – 10’
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Dos Vazios da Terra, a Vertigem (2016) – mixed septet (flute, Bb clarinet and bass clarinet, mandolin, percussion, piano, viola and violoncello) – 13’
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Concertino (2015) – guitar and chamber orchestra – 13’
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BANG! (2015) – mixed quintet (flute, bouzuki, percussion, piano, violin and violoncello) -7’
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Flama (2015) – guitar – 2’
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Mborai (2015) –soprano, flute and guitar – 7’
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Sinestesias (2015) – concert band – 10’
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Reflexos Luminescentes (2015) – violin – 1’
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Flageollet (2014) – guitar – 7’
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Da Transfiguração da Cor (2013) – chamber ensemble – 10'
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Tekowa (2013) – guitar chamber orchestra – 7’
WRITINGS
THE NEWNESS OF SOUND AND THE REINVENTION OF LISTENING
An analysis of Flo Menezes' La novità del suono. In Scripture Music - Maximalism in the musical work of Flo Menezes, pp. 253-295.
GRADUATE THESIS: O CONCEITO DE EMERGÊNCIA APLICADO À COMPOSIÇÃO MUSICAL - THE CONCEPT OF EMERGENCE APPLIED TO MUSICAL COMPOSITION
Resumo: O conceito de emergência está relacionado ao comportamento de sistemas complexos, a partir dos quais emergem propriedades com novas qualidades a nível superior às qualidades de sua configuração de base. Neste memorial de composição, aplico o conceito de emergência ao processo de composição musical como via na qual convergem procedimentos mecanicistas e o juízo reflexivo do compositor, e por meio da qual saltam, a partir da multiplicidade que subsume à liberdade criadora, propriedades emergentes associadas à configuração formal e às qualidades estéticas e expressivas inerentes ao objeto estético. Palavras-chave: Composição musical. Emergência-música. Estética.
Abstract: The concept of emergence is related to the behavior of the complexes systems, from which properties emerge with new qualities in a superior level than the qualities of its grounding configuration. In this memorial of composition, I apply the concept of emergence to the process of musical composition as the way in which converge the composer's mechanist procedures and the reflexive judgment , and through which spring, from the multiplicity that is subsumed to the creative liberty, emergent properties associated with the formal configuration and the aesthetics and expressive qualities inherent to the aesthetic object. Key-words: Musical composition. Emergence-music. Aesthetics.
A APREENSÃO DA OBRA DE ARTE COMO PROPRIEDADE EMERGENTE – THE APPREHENSION OF MUSICAL ARTWORK AS EMERGENT PROPERTY
Resumo: Observa-se relação intrínseca entre o comportamento das propriedades emergentes e a maneira como a obra de arte musical é apreendida. De acordo com a filosofia kantiana, a conformidade formal ajuizada por meio de contemplação não segue os princípios da razão, sendo que estes relacionam-se com a lógica mecanicista. Da mesma maneira, o comportamento do fenômeno com propriedades emergentes transcende tal lógica. Tomando como referência o conceito de juízo reflexivo kantiano e as qualidades afetivas propostas por Mikel Dufrenne, argumentar-se-á sobre a maneira como o objeto musical é apreendido segundo a teoria da emergência. Palavras-chave: Emergência. Estética.
Abstract: It is observed an intrinsic relation between the behavior of the emergent properties and the way that the musical artwork is apprehended. According to the Kantian philosophy, the formal conformity judged by contemplation does not follow the principles of reason, and these are related to the mechanistic logic. In the same way, the behavior of the phenomenon with emergent properties transcends such logic. Taking as reference the Kantian concept of reflexive judgment and the affective qualities proposed by Mikel Dufrenne, it will be argued how the musical object is apprehended according to the theory of emergence. Keywords: Emergence. Aesthetics.
DESENVOLVIMENTO MUSICAL PARA GRUPO DE VIOLÕES A PARTIR DE IDEAIS SURREALISTAS ONÍRICOS E BASE NA MÚSICA FUTURISTA DO SÉCULO XX - MUSICAL DEVELOPMENT FOR CLASSICAL GUITAR ENSEMBLE BASED ON SURREALIST DREAM IDEALS AND FUTURISTIC MUSIC OF THE 20TH CENTURY
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A MÚSICA INDÍGENA E SUA FUNÇÃO COMO BASE DE COMPOSIÇÃO PARA VIOLÃO - INDIGENOUS MUSIC AND ITS FUNCTION AS A BASE FOR CLASSICAL GUITAR COMPOSITION
RESUMO: Para se abordar o contexto da música indígena dentro de composições eruditas é necessário possuir, além dos próprios conhecimentos da música ocidental, o conhecimento deste outro campo musical. Necessitamos dos conhecimentos históricos; dos desenvolvimentos teóricos sobre a música indígena; noções da instrumentação; no caso de se abordar um tema de certa tribo, entender seus costumes, qual a função da música nesta tribo e como ela é feita; e direcionar a composição especificamente para uma determinada instrumentação. Palavras-chave: Composição; Violão; Quarteto
