Program notes

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Mosaic was commissioned by saxophonist Paulo Rosa and is based on the idea of an open-form construction using materials predefined by the composer. As in a visual mosaic, where small pieces can be rearranged to create different images and interpretations, the work proposes a flexible relationship among its movements, allowing the performer to take an active role in shaping the formal structure of the piece. The work consists of eight movements originally conceived to be performed sequentially, from Movement I to Movement VIII, constituting the complete concert version. However, the performer is invited to reorder these movements freely, creating new formal trajectories and articulations from the existing material. In this way, each performance may assume a distinct configuration while preserving the same fundamental musical elements and revealing different possibilities for listening and formal organization. Beyond reordering the movements, the performer may also insert transitions between sections, create subtler connections between contrasting materials, add ornamental notes, employ extended techniques, or even adapt the structure of the work by omitting, replacing, or incorporating additional movements. Thus, the work understands performance not merely as execution, but as a creative process of assembly.

The piece also has a pedagogical dimension. Some movements present lower technical demands and may be performed independently in educational settings aimed at beginning students. The complete version of the work, encompassing all eight movements, requires a broader technical command, including the exploration of different registers of the instrument and a wider range of interpretive resources. In this context, the teacher may adapt the work to the needs of individual students by selecting specific movements or gradually introducing additional material as the performer's technical abilities develop. In this way, the piece can accompany different stages of instrumental training, functioning both as educational repertoire and as a concert work open to formal experimentation.

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