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 […]
55. diz tu por mim silêncio, for solo soprano and wind ensemble (2022) Read More »
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
54. ai esta pena de mim, for ensemble (2022) Read More »
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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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
48. pranto, bass clarinet, voice and electronics (2019) Read More »
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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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
43. where the shadows are so deep, for voice solo and ensemble (2019) Read More »
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.
49. Benedictus (version B), Choir and string orchestra, 2019 Read More »
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.
42. Benedictus (version A), Choir and chamber orchestra, 2018 Read More »
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
37. sa•lo•mão, ou a inquieta procura do eu, for ensemble and baritono solo (2017) Read More »
[preludio: nocturno], for solo violin (2017) [en]Written in February 2017, [prelúdio: nocturno] was commissioned by Teresa Silva for her master’s recital. The piece was premiered on 16 March of the same year, in a challenge that extended the interpretation beyond the violin: at the time, Teresa was also studying singing, and the work invited her
34. [preludio: nocturno], for solo violin (2017) Read More »