Três, for orchestra (2012) [en]Três, for large orchestra, was written in 2012. The title is intrinsically linked to the work’s conception and composition process. The structure of this piece consists of three parts (A, B, C), where the first two parts merge harmoniously to give rise to the third, creating a cohesive and dynamic unity. […]
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Claro-escuro, for ensemble (2012) [en]The title of the piece, Claro-Escuro, refers to the Renaissance pictorial technique of ‘chiaroscuro’, which explores contrasts between light and shadow. Here, the idea of contrast is transposed to the musical level. Despite the direct reference to the Italian term, it is not a question of seeking sensory equivalences between the
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Ensõ, for 8 percussionists (2011) [en]Ensõ symbolises a circle drawn with a single continuous line, symbolising enlightenment, strength, elegance, the universe and emptiness. It is often associated with Zen Buddhism and represents the expression of the present moment, where the mind is free to allow creation in the purest and truest form. Buddhists say that
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três canções tradicionais, for guitar quartet (2011) [en]In 2011, Oscar Rodrigues asked me to create an arrangement of three traditional songs (‘Dorme, dorme meu menino’, ‘Era ainda pequenina’ and ‘Não quero que vai à Monda’) for guitar quartet. [pt]Em 2011, a pedido do Oscar Rodrigues, criei um arranjo de três canções tradicionais (“Dorme, dorme meu
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Oscilações, for timpanist (2011) [en]Oscilações, a work for percussionist, was commissioned by the percussionist Lúcia Viana da Silva. The piece, written for four timpani, keeps a constant pitch throughout the performance. The title reflects the variations in tempo, dynamics and character, as well as the different areas where the player plays the instrument, such as
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entrai pastores, electronic (2011) [en]entrai pastores was created after long hours of hearing old recordings from traditional music, made in the 1960s. I heard this traditional song from Alentejo in a collection of CDs with recordings that M. Giacometti had made in his research in Portugal. In this piece, I used six speakers – two
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Dorme, dorme meu menino, choir SATB (2011) [en]Dorme, dorme meu menino is an arrangement of a traditional song from Viseu, created in 2011. [pt]Dorme, dorme meu menino é um arranjo da canção tradicional de Viseu, criado em 2011.
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Sonho, for orchestra (2011) [en]Although this piece was born from the musical development of improvised motifs, as the piece was written, I created a narrative about a dream that originated from listening to a triangle. I endeavoured to create an introspective piece for the performers and listeners, ‘absorbing’ those who hear the work in a
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Tinnitus, electronic (2010) [en]Tinnitus develops a sound environment that evokes both the obsessive persistence of a phantom sound and the fluidity of changing electroacoustic landscapes. The piece can be interpreted as a metaphor for inner listening – an echo of auditory memories or a projection of the act of listening itself. Tinnitus was created in
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Homenagem a um fugidio, for ensemble (2010) [en]Homenagem a um Fugidio (Homage to a Fugitive) was born out of a deep desire to convey a feeling of nostalgia and pay tribute to a beloved family member. In November 2010, my family received the news that one of my father’s cousins had disappeared. A week later,
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