Bio:
Paulo Costa Lima (26.9.1954) é compositor e educador (pleonasmo, de acordo com Ernst Widmer). Iniciou os estudos de música em 1969, na Escola de Música e Artes Cênicas da Universidade Federal da Bahia, com os professores Jamary Oliveira (composição e análise), Ernst Widmer (composição), Lindembergue Cardoso (composição) e Piero Bastianelli (violoncelo).
Graduou-se em Composição pela University of Illinois at Champaign-Urbana (USA), em 1977, "with honors", onde também concluiu o Mestrado em Educação Musical, no ano seguinte, tendo trabalhado nesse período com os compositores Herbert Brün e Ben Johnston, e os educadores Richard Colwell e Charles Leonard. Doutor em Educação pela Universidade Federal da Bahia (1998) e em Artes pela Universidade de São Paulo (2000). Leciona Composição e Teoria da Música no nível de graduação e pós-graduação da Escola de Música, onde atua como professor desde 1979.
Em sua jornada profissional, foi editor-fundador da revista ART (1981-...), membro do Conselho Editorial da UFBA (1984-1988), coordenador das Semanas de Música Contemporânea (1986-1992), presidente do Conselho Editoria da Associação Nacional de Pesquisa e Pós-Graduação em Música, pesquisador pelo CNPq, chefe de departamento (1986-1988, 1994-1995), diretor da Escola de Música (1988-1992) - reiniciando a série de Seminários Internacionais de Música, interrompida em 1959, criando o Mestrado em Música e anexando o prédio do Memorial Lindembergue Cardoso à estrutura física da Escola - e pró-reitor de Extensão em duas gestões (1996-1998 e 1998-...) - criando o programa UFBA em Campo e liderando o movimento de criação e implantação de uma nova concepção de ação acadêmica, denominada Atividade Curricular em Comunidade.
Sua lista de obras inclui cerca de sessenta composições que vem recebendo execuções constantes no Brasil e em diversos países, tais como: Argentina, Venezuela, Portugal, Açores, França, Inglaterra, Bélgica, Alemanha, Estados Unidos, Canadá e Japão, totalizando mais de 50 apresentações no exterior. Tem participado de diversos festivais, merecendo destaque o Sonidos de las Americas (1966), promovido pelo Carnegie Hall em New York, como membro da delegação brasileira, ocasião em que proferiu palestras na Princeton University, Kent State University e Catholic University of America.
No Brasil, tem participado de todos os festivais de destaque na área de música contemporânea, contando com a qualidade de intérpretes como José Eduardo Martins (piano), Matias de Oliveira Pinto (cello), Beatriz Balzi (piano), Bahia Ensemble - sob a regência de Piero Bastianelli - Grupo PIAP, Quarteto da Cidade de São Paulo, Quarteto de Brasília, Orquestra SInfônica da Bahia, Orquestra SInfônica do Estado de São Paulo, Duo Robatto (flauta e clarineta), Mario Ulloa (violão), Edelton Gloeden e Adélia Issa (violão e voz), entre outros.
English:
Paulo Costa Lima (September 26, 1954) is a composer and educator (a pleonasm, according to Ernst Widmer). He began studying music in 1969 at the School of Music and Performing Arts of the Federal University of Bahia, with professors Jamary Oliveira (composition and analysis), Ernst Widmer (composition), Lindembergue Cardoso (composition), and Piero Bastianelli (cello).
He graduated in Composition from the University of Illinois at Champaign-Urbana (USA) in 1977, "with honors," where he also completed a Master's degree in Music Education the following year, having worked during this period with composers Herbert Brün and Ben Johnston, and educators Richard Colwell and Charles Leonard. He holds a PhD in Education from the Federal University of Bahia (1998) and in Arts from the University of São Paulo (2000). He teaches Composition and Music Theory at the undergraduate and graduate levels at the School of Music, where he has been a professor since 1979.
In his professional journey, he was the founding editor of the magazine ART (1981-...), a member of the Editorial Board of UFBA (1984-1988), coordinator of the Weeks of Contemporary Music (1986-1992), president of the Editorial Board of the National Association of Research and Graduate Studies in Music, a researcher for CNPq, department head (1986-1988, 1994-1995), director of the School of Music (1988-1992) - restarting the series of International Music Seminars, interrupted in 1959, creating the Master's program in Music, and annexing the building of the Lindembergue Cardoso Memorial to the physical structure of the School - and vice-chancellor for Extension in two terms (1996-1998 and 1998-...) - creating the UFBA in the Field program and leading the movement to create and implement a new conception of academic action, called Community Curricular Activity.
His list of works includes about sixty compositions that have been constantly performed in Brazil and in various countries, such as Argentina, Venezuela, Portugal, Azores, France, England, Belgium, Germany, the United States, Canada, and Japan, totaling more than 50 presentations abroad. He has participated in various festivals, notably the Sonidos de las Americas (1966), promoted by Carnegie Hall in New York, as a member of the Brazilian delegation, on which occasion he delivered lectures at Princeton University, Kent State University, and Catholic University of America.
In Brazil, he has participated in all the prominent festivals in the field of contemporary music, with the quality of interpreters such as José Eduardo Martins (piano), Matias de Oliveira Pinto (cello), Beatriz Balzi (piano), Bahia Ensemble - under the direction of Piero Bastianelli - PIAP Group, São Paulo City Quartet, Brasília Quartet, Bahia Symphony Orchestra, São Paulo State Symphony Orchestra, Robatto Duo (flute and clarinet), Mario Ulloa (guitar), Edelton Gloeden and Adélia Issa (guitar and voice), among others.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).