Idiomatism and Performance Aspects in the Use of the Berimbau in Two Solo Works

This article examines the berimbau, a percussion instrument deeply rooted in Brazil- ian popular and traditional culture, within the context of concert music. The recital featured two solo works by Brazilian composers—Matiz III, “Ciclos” by Rodrigo Lima and Íris by Alexandre Lunsqui—which explore the technical, timbral, and expressive potential of the berimbau. These compositions expand the instrument’s techniques and idiom, highlighting its role beyond traditional contexts and fostering a dialogue between popular music and concert music. The study also analyzes the characteristics of the works, their references, and the challenges posed to perform- ers. By engaging with non-conventional instrumentations, this research contributes to the training of percussionists interested in exploring Brazilian instruments within the contemporary repertoire. The use of the berimbau in these pieces encourages an encounter between musical traditions, inviting performers to engage with the expressive and symbolic layers of an instrument deeply connected to Afro-Brazilian heritage. The project investigates how this dialogue enriches both the performer and the repertoire, opening new interpretative and technical pathways.