a lebre e a tartaruga, for trombone (2024) [en]The piece a lebre e a tartaruga (‘the hare and the tortoise’) was commissioned by the trombonist Ricardo Pereira as part of his doctoral project on pedagogical practices and incorporating contemporary music into trombone teaching in Portugal. The piece explores the theatrical dimension of the stage, inviting […]
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[delicadeza], for violino, harpa e piano (2023) [en][delicadeza], for violin, harp and piano, was written for the Ensemble Linea and premiered at the Cordes Sur Ciel Festival in July 2023. The idea for this piece arose after the CISMO and Cristina Branco project, with whom I had the opportunity to work in 2022 – [
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[nas tuas mãos], for piano solo (2023) [en]The set of short pieces [nas tuas mãos] was the musical result of the ‘Arte e Olhar’ project developed by the Agrupamento de Escolas D. Maria II in Braga, which promotes bilingual teaching in Portuguese and Portuguese Sign Language (LGP), artistically directed by Maíra Ribeiro, and of which
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do lume que pesa ii, for flute solo (2021, rev. 2023) [en]do lume que pesa ii was influenced by the farricocos, their matracas (ratchets) and the fire they carry. The farricocos are traditional figures of Holy Week in Braga, known for their black clothing and role in religious processions. Walking barefoot, the farricocos are penitent
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diz tu por mim silêncio, for solo sopranoand wind ensemble (2022) [en]diz tu por mim, silêncio (2022), for soprano solo and wind ensemble, is based on the poem ‘Não era hoje um dia de palavras’ by José Saramago to explore the tension between the absence of speech and the imperative need for expression. The piece
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ai esta pena de mim, for ensemble (2022) [en]In 2022, I was invited by the artistic director of CISMO – Cister Meta Orchestra -, Mário Marques, to create two pieces for the project ‘CISMO invites Cristina Branco’. This initiative, presented as ‘challenging’ by Mário Dinis Marques, aimed to ‘celebrate music through music as a form
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gaivota, for ensemble (2022) [en]In 2022, I was invited by the artistic director of CISMO – Cister Meta Orchestra -, Mário Marques, to create two pieces for the project ‘CISMO invites Cristina Branco’. This initiative, presented as ‘challenging’ by Mário Dinis Marques, aimed to ‘celebrate music through music as a form of communication in which
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love me [not], for harp solo (2022) [en]The work love me [not] is shaped by two main influences that are intertwined. The title was inspired by the Pakistani visual artist Imran Qureshi’s work “Love Me, Love Me Not” (2015). The composition’s narrative, however, is influenced by the film ‘Verdes Anos’ (1963), directed by Paulo Rocha.
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do lume que pesa, para chamber music and electronics (2020) [en]do lume que pesa, commissioned by the Sond’Ar-te Electric Ensemble, is based on the image of the farricoco and the emotions in Braga’s Holy Week celebrations, showing solitary introspection, but with (some) hope towards the future. The farricocos are dark, penitent and meditative figures who
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(my) new york times, electronics (2020) [en]Veit Erlmann presented the concept of “Hearing culture” as a way to understand a culture, and be aware of our way of being part of it. Every society has its own sonic identity – by sonic identity, I mean the unique combination of sound elements that define a specific
50. (my) new york times, electronics (2020) Read More »