quando vier a primavera, for bass clarinet and electronics (2016) [en]Written in 2016, quando vier a primavera, for bass clarinet and electronics, was based on Alberto Caeiro’s poem with the same title. The acceptance of fate as it will be, or the recognition of its inevitability, emerges as a key point in the poem in […]
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and they still seek the traces of blood, chamber music (2016) [en]The title and concept of and they still seek the traces of blood are derived from a monumental installation (2013) by the Pakistani artist Imran Qureshi. Qureshi’s art often explores the expressive power of blood or elements reminiscent of it, as if his paintings
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the murder of nadia vera, ensemble, 2015 [en]the murder of nadia vera was written during Labo V, a biennial multidisciplinary artistic project about new music, sound art and multidisciplinary projects. During that project, we were presented with a text about the death of Nadia Vera, a Mexican social anthropologist, activist and human rights defender who
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geheim landschap, chamber music (2015) [en]geheim landschap, in Dutch, means ‘secret landscape’. It was written on the top floor of the house where I lived in 2014 in Antwerp, where we had two rooms with small windows. Through them, I could see, above the buildings, a secret landscape all around me. That’s how I got
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things that might come, drummer (2015) [en]things that might come was the result of a collaboration between composers, instrumentalists and dancers, students at the Royal Conservatory of Antwerp. This piece, for solo drums, was premiered by Helena Araújo and Gert Malfliet on 27 May 2015 at the Gele Zaal, deSingel, Antwerp. [pt]things that might come
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a dança dos pinguins, chamber music (2015) [en]The piece a dança dos pinguins, for viola and piano, was a request from Diana Antunes for her master’s degree project ‘Introduction to Portuguese Contemporary Music and Viola D’arco: A Case Study’. The aim was to introduce primary school students to contemporary music and different techniques. In this
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eiGht, for ensemble (2015) [en]eiGht, for ensemble, arose from a deep fascination with the work of Wassily Kandinsky, in particular his approach to abstraction and the expressive power of shapes and colours. The title eiGht reflects this influence, not only in its name, but also in the irregular spelling, which seeks to translate the musical
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aMoria, chamber music and electronics (2015) [en]aMoria is a piece that was born out of collaboration with visual artist Nina Caspari, as part of the Sketch the Sound project, an initiative conceived by Erna Verlinden, which brought together composers and visual artists to create new works. This piece is part of a wider project, “Armora”,
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¡SchoL!, for ensemble (2015) [en]¡SchoL!, for alto saxophone, tenor trombone, three percussionists and piano, was written during my master’s degree, which focused on ‘Elements of Portuguese Traditional Music in Contemporary Composition’. I therefore decided that it would be a good opportunity to take a different approach to my writing, continuing to work on elements of
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nyMphéas, string quartet (2014) [en]nyMphéas, for string quartet, was written in 2014. This string quartet emerges as a reinterpretation of the same soundscapes explored in water liliEs, through a more intimate prism. The sound and timbre world is a reimagining of what was created and can be seen as an emotional response to the first,
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