Kampela & Band
pieces (...) Kampela's effects were fascinatingly inventive. The best
was his use of a spoon to give the guitar a wavery, underwater
The New York Times, 1993
"...Ironclad technique (...) It seemed only natural that
someone so imaginative might find the standard guitar repertory
The New York Times, 1997
"... And Even more stunning was Arthur Kampela's
Studies I & II for solo guitar (...) The visionary treatment
of the instrument and the "never-heard-before" sounds of
modernism." -ISCM Festival,
Copenhagen 1996. Berlingske Tidende
"... As a virtuoso Kampela is probably unsurpassable both in
speed and accuracy. He also sets himself apart from the crowd of new
music experimenters by the free flight of his imagination."
- Finnish News
Winner of the 1995 International Guitar Composition Competition
(Caracas, Venezuela) and of the 1998 Lamarque-Pons Guitar Composition
Competition (Montevideo, Uruguay), two of the most prestigious
composition competitions for the guitar in the world, he is
internationally recognized as one of the most representatives voices of
his generation. Kampela has broken new ground in two particular ways:
first, in his native country as a sort of "Brazilian Frank Zappa,"
establishing himself as a true heir to the Bossa-Nova and Tropicalist
movements of Brazilian recent music. Second, in his series of
"Percussion Studies" for solo guitar, Kampela has
created an entirely new playing technique, combining in a compelling and
seamless manner, traditional playing techniques and noise oriented,
a DMA candidate in performance at the Graduate Center of CUNY.
She has been performing in many New York venues for new music, such as
Cornelia Street Café, The Cutting Room (ASCAP), and Washington Square
Church, among others. She performed at major new music festivals in
Brazil, her native country, including the Biennial of Contemporary Music
in Rio de Janeiro and the New Music Festival of São Paulo.In 1997, she
was invited to perform a solo work by Arthur Kampela at the ISCMs league
in Seoul, South Korea.
a winner of the Tilden Prize Competition for tenor trombone held in New
York in May 2000. Before moving to the States, he performed as a soloist
with major orchestras in his native country Brazil.
He is currently a recipient of the Brazilian Foundation Vitae
Scholarship at the Juilliard School, where he’s been studying with Dr.
Per Brevig, in the master of music program. He is a member of Arthur
Kampela’s new music band, as well as an active participant of the New
Juilliard Ensemble, soloing with symphony orchestras and a variety of
chamber music groups.
performed and recorded with orchestras including The Orchestra of St.
Lukes, Blanche Moyse's New England Bach Festival, Concordia and Bang On
A Can's Spit Orchestra, new music groups including Ensemble 21,
North/South Consonance, Essential Music, Common Sense, The Group For
Contemporary Music, and the Crosstown, Xenakis and S.E.M Ensembles, and
bands including Songs From a Random House, Gawk, Church of Betty and
Voltaire playing everything from solo and chamber music recitals and
Broadway Shows to rock, ragtime, Klezmer, Indian and Tango in venues
ranging from Carnegie, Merkin, Avery Fischer and Alice Tully Halls to
CBGB's, The Kitchen, The Knitting Factory, Saturday Night Live, Live
From Lincoln Center, the David Letterman, Conan O'Brien, Rosie O'Donnel
and Jay Leno Shows, and new music and jazz festivals throughout the
U.S., Canada and Europe. He has worked with artists ranging from Anthony
Braxton, Elliot Sharp and Don Byron to John Cage, Morton Feldman, Elliot
Carter and George Crumb. Of his performance of Nils Vigeland's
"Ives Music", The New York Times called it, "scratchier
and more mistuned than even Ives would have found amusing."
important violin solos were excellently projected by Gregor Kitzis,
sometimes with whistling purity, always with vivid presence." -
Paul Griffiths, New York Times, 11/22/00.
played with Arthur Kampela for 15 years, with whom he recorded Epopéia
e Graça. He recorded with Guilherme Hermolin in his CD North, South,
José Moura has played with the composer Giovanni Bizotto, and
with bands like Cão sem Dono, Banda Brasil, and Frisson, among others.
Besides his experience as an instrumentalist, he has developed projects
for over 10 years at musical schools in Brazil, such as Centro Musical
Antonio Adolfo and Musiarte in Rio de Janeiro, where he developed his
own method of teaching electric bass.
1997 he won the Virtuose award from The Ministry of Culture of Brazil to
study in New York with the bass player John Patitucci. Since then, he
has performed in several places in Manhattan and Brooklyn.