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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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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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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home(m), chamber music (2017 and 2021) [en]home(m) was written at the request of the deCompagnie Ensemble from Antwerp. In this piece, I took the Braga Carnival event ‘Queima do Home’ as a starting point. The influence of the event on the sound result of this piece can be seen in the shape of the piece
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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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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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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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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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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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