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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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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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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sa•lo•mão, ou a inquieta procura do eu, for ensemble and baritono solo (2017) [en]sa·lo·mão, ou a inquieta procura do eu was commissioned by Manuel De Almeida-Ferrer, who asked me to write a piece based on one of José Saramago’s works. I chose “A viagem do elefante” (“The Elephant’s Journey”), a book I had read the
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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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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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¡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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water liliEs, for ensemble (2013) [en]water liliEs, for ensemble, was written in 2013. This piece was influenced by the ‘waterlilies’ paintings, particularly their Musée de l’Orangerie exhibition. I was fascinated when I visited the museum, especially the upper floors, in December 2012. Influenced by the idea of ‘neo-impressionism’, I tried to convey to music the
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