(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 […]
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pranto, bass clarinet, voice and electronics (2019) [en]This piece originated from a request from Frederic Cardoso to write a piece for bass clarinet, voice, and electronics to be premiered at his recital “Diálogo a Preto e Branco”, part of the series of concerts entitled “Estado da Nação” at Casa da Música. The name and idea
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sei que estou só, choir (2019) [en]In sei que estou só, for choir (24 voices), I used the poem of the same name by Sophia de Mello Breyner Andresen. Here, I tried to reflect on loneliness in the chaotic contemporary world. The simplicity of the text, its coldness and the loneliness it conveys have been
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Franz Schubert Quartet no. 14 in D Minor“Death and the Maiden” (orchestration), string orchestra (2019) [en]During my artistic residency with the Antwerpen Camerata, we developed the idea for a programme in which we combined Franz Schubert’s Quartet no. 14 in D Minor ‘Death and the Maiden’ with a piece written by me. That’s how this
was birgst du so bang deing Gesicht?, string orchestra (2019) [en]was birgst du so bang dein Gesicht, for string orchestra, was written in 2019 as part of my collaboration with the Antwerpen Camerata as Resident Composer. I was challenged to use Franz Schubert’s string quartet in D minor, D. 810 as a starting point for
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[a]void, chamber music (2019) [en]The loss of my father left me completely empty. I spent weeks and months helping him to have a dignified end to his life: with little rest, I continued to develop my doctorate, organised projects to direct, and composed. [a]void was my attempt to show the intensity of the feelings I
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where the shadows are so deep, for voice solo and ensemble (2019) [en]where the shadows are so deep, for voice and ensemble, was written in 2019. Two works of art influenced this piece. On the one hand, the work of Fernando Pessoa, especially ‘The Book of Disquiet’, from which the text was taken. On the
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Benedictus (version B), Choir and string orchestra, 2019 [en]Benedictus is the result of a request by Maestro António Baptista to write a piece for choir and orchestra, for the occasion of the Silver Jubilee of Father João Correia’s priesthood. This happened in an emotionally complex context of my life, the week after my father’s departure.
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Benedictus (version A), Choir and chamber orchestra, 2018 [en]Benedictus is the result of a request by Maestro António Baptista to write a piece for choir and orchestra, for the occasion of the Silver Jubilee of Father João Correia’s priesthood. This happened in an emotionally complex context of my life, the week after my father’s departure.
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i [w]ill meet you by the sea, for trumpet solo (2018) [en]In i [w]ill meet you by the sea, the sea is both the beginning and the destination. I started from a motif from ‘La mer’ by C. Debussy, and created a dialogue between the wind and the sea. It was written at a time
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