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The title track of his 2001 album, "Noites do Norte" ("Northern Nights"), sets a passage from a book by the nineteenth-century Brazilian abolitionist Joaquim Nabuco to elegant music that could have come from a nineteen-sixties Frank Sinatra ballad, except that Nabuco's text begins, "For a long time, slavery will remain the national characteristic of Brazil".
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He began his set with a passage involving a mandolinlike stringed instrument and a vocal torrent, backing his own brackish growls with a plangent, wobbly twang.
Watching them at another rehearsal I noted that even a seemingly slow-motion phrase is set to a passage of brisk drumming.
Both of these novels are set in a passage of 20th-century history that has been the object of both state manipulation and censorship.
"Gabriel's Guide" ends in Manhattan, with a gleaming setting of a passage from the New York guide describing the joyous multitude of the city (written, no less, by an anonymous, fresh-faced John Cheever).
The ad, created by a Paris agency called Leg, is set to a passage from Edmond Rostand's play "Cyrano de Bergerac," in which Cyrano defeats the Viscount de Valvert in a duel while composing a poem on the spot.
He sings some of his lyrics in Portuguese, the rhythm section flirts with reggae rhythms, and the set included a passage where electric guitars were put aside for the big surdo drums of samba.
It's still a solemn sequence, however, lifted only at the end by the dialogue Meine Freundin, du bist Schön, a setting of a passage from the Song of Songs, intended for a marriage celebration, and by Lutheran standards, quite unbuttoned.
This a big claim, particularly in light of the thrashing Federer gave Murray in the US Open final last September – and when set against a passage from an essay on Federer by the American novelist David Foster Wallace, which was republished after the writer's death within days of that final.
The version that opens the set includes a passage that eventually evolved into this verse: There was a high wall there That tried to stop me A sign was painted that said 'Private Property' But on the other side it didn't say nothin' That side was made for you and me.
The anthem is a setting of a passage from the litany compiled by Thomas Cranmer, Archbishop of Canterbury, and later included in the Anglican Book of Common Prayer.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com