Ensemble Eborensis, August 28

2014.08.28 Igreja dos LóiosTomorrow, (August 28) 19:00, I’ll be singing with my group Ensemble Eborensis at the Church of St John Evangelist, commonly known as Church of the Convent of Lóios, at Évora. This is a concert to help raising funds (food supplies) for an associacion called Pão e Paz (Bread and Peace) that helps less fortunate persons in the city of Évora, cooking about 300 daily meals at the association’s refectory. The cost of entry to the concert will be a good (anything that can be useful for the preparation of the daily meals by this association). (mais…)

Revisiting “Sulitânia”

SulitâniaIt was with satisfaction that I received last June the news that Coro Polifónico Eborae Musica will participate with Portuguese popular music group Ronda dos Quatro Caminhos in a concert next month in Évora, following the choir collaboration in the 2007 project-CD Sulitânia.

In 2006 Eborae Musica collaborated with this group in a concert at Teatro Garcia de Resende in Évora. The recording of the  songs featured in the CD took place in February 2007. In 3 May 2008 the choir participated in a concert at Aula Magna in 3 May toghether with the other groups and Orquestra Sinfonieta de Lisboa. (mais…)

On the Feast of St Bernard

chantOdoriferum lilium is one of the responsories for Matins of the feast of this saint. I really enjoy this one in particular for the beautiful design of the melodic line and the low tessitura. This was one of the examples I used in my talk last year, at the “Residência Cisterciense” in the Monastery of S. Bento de Cástris, Évora, a feminine cistercian house that had quite a lot of music activity during the seveenteenth and eighteenth centuries. (mais…)

Fernando Lopes Graça – Piano Concertos N.º 1 and 2

Graça - Piano Concertos“The music of Fernando Lopes-Graça, one of the most significant Portuguese composers of the twentieth-century, went through several phases of development. Though rooted in folk music, it absorbed influences not only from much earlier composers such as Scarlatti and Seixas, but from contemporaries such as Bartók. These influences are potent in the Piano Concerto N.º 1 of 1940, a highly personal, atmospheric and superbly orchestrated work imbued with bittersweet romanticism. (mais…)